Hi Ken! Like many others have said, thanks for doing this.
Supertramp were one of the groups I was bought up on, and Crisis What Crisis? was actually the first album I listened to where the sonics caught my attention - I still think that album is one of the best sounding records I've ever heard - it's just all where it should be sonically...
Here's my question:
How much of the process of making that album was working with the sound of the musician's instruments, and how much was working with mic choice, mic'ing positions and other technicalities?
I ask as someone who is currently at Uni, and constantly frustrated by musicians who just expect you to put *microphone X* in front of them and "make it sound good" without once being able to work with the sound of their instruments.
Hi Alex, For me the sound always starts in the studio. Even with all the plugins in the world you can't make a great sound in the control room from a bad or average sound in the studio. As an engineer one should aid the artist in getting the sound in the studio and then just add the icing on the cake in the control room. Now obviously the choice of mics and things of that kind are going to help, but start with a great sound and you can't go too far wrong.