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Difficult or interesting requests from musicians?
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Syncamorea
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23rd April 2012
Old 23rd April 2012
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Difficult or interesting requests from musicians?

Hi Jay! Thanks for doing this Q&A.

There are classic stories from Eddie Kramer about Jimi wanting to sound like he was under water or from Roger Mayer about guitar effects that didn't yet exist, etc. I'd be interested to hear the kind of requests you have received from musicians you've worked with. And also, what kind of results did you get trying to find the sound, what odd stuff did you discover along the way? I'm always amazed at how some musicians that are amazingly talented but have a vocabulary that's really lacking. I had a big facepalm after working with a vocalist that was critical of the "high treble" on her vocal track that turned out she wanted an EQ cut at 2.2kHz...
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24th April 2012
Old 24th April 2012
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Quote:
Originally Posted by Syncamorea View Post
Hi Jay! Thanks for doing this Q&A.

There are classic stories from Eddie Kramer about Jimi wanting to sound like he was under water or from Roger Mayer about guitar effects that didn't yet exist, etc. I'd be interested to hear the kind of requests you have received from musicians you've worked with. And also, what kind of results did you get trying to find the sound, what odd stuff did you discover along the way? I'm always amazed at how some musicians that are amazingly talented but have a vocabulary that's really lacking. I had a big facepalm after working with a vocalist that was critical of the "high treble" on her vocal track that turned out she wanted an EQ cut at 2.2kHz...

I almost always prefer a non technical description of what the artist wants to hear. I guess I've heard the strangest descriptions when working with advertising people.....like 'what's that thumping sound?' (kick drum).

I was recently in the studio with, latin jazz legend, Eddie Palmieri. When I was mixing one of the tunes, Eddie was describing that he wanted the timbale fills to 'jump out' more. He was describing this more with a visual hand movement, rather than verbal, but I understood what he meant. I took all the fills and copied them to another track (in PT's) and added a lot of compression to them and added it to the main timbale tracks. He loved it.
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