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Old 15th May 2011
  #1
Here for the gear
 

The art of the "Album"

Hi Phil, long time listener, first time caller...

Given the fact that people can go onto itunes now and buy 'New Grass' for $0.99 and forget the rest of Laughing Stock completely, or at least listen to it totally out of context, I am particularly interested in your approach to recording from the album point of view... Did it matter to you where on the album something was going to occur in how you approached it and would it still matter to you now given the current way of things?

I mean, with Hollis for example how much are you (and he) factoring into your decisions about sounds and sonic relationships in their emotional effect on the album as a whole at the tracking stage or even the pre-production stage? Do you think about this at all?

I ask because you make so much use of the room as an instrument, I wonder are you saving certain aspects of it or choosing only to highlight certain aspects of it for certain effects in an album context or is the overall "album" something that really comes into play more in the mix?

Also, just for fun, what is the most technically "wrong" thing you have ever done to get THE sound? Anything that a "professional" engineer would tell you NEVER to do?

Thanks, Ben