Tape Op, Issue 85 (September/November 2011)

Factor No eighty five of Tape Op journal from Sept/Nov 2011

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Factor No eighty five of Tape Op journal from Sept/Nov 2011

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Extra info for Tape Op, Issue 85 (September/November 2011)

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What was the history of Woodland Sound before you bought it? D: They made [Kansas’] “Dust in the Wind” there and [Neil Young’s] Comes a Time. It was a very hot studio in Nashville – maybe the hottest studio in the world, as far as pop music from ‘73 to ’83 – all the “urban cowboy” country. G: And [The Nitty Gritty Dirt Band’s] Will the Circle be Unbroken. D: You can read up on Woodland – it’s interesting. It was also Denny Purcell’s – he had a mastering suite there, as well as two studios. If you look at the logs, they were running 24 hours [per day].

Do you do the mixing? D: I do a lot of mixing. On The Harrow & The Harvest, we weren’t really moving faders very much – we never really ride stuff. For most mixes we set the faders and let them run. It’s very rare for there to be fader moves within a song. Matt did a lot of live mixing, where he would get the picture a particular way. If we liked it when we came in, we might only tweak things slightly. He did a lot of riding the preamps and then we would adjust from there as far as color and compression.

If you look at bands from the late‘60s and ‘70s, you’ll find lots of art students and no music students in them. Exactly. Almost without exception the music students didn’t get that idea. Well, Pete Townshend, whom I know you admire, is a perfect example of that. the late ’60s and early ‘70s, you have to remember that this was the era of pop art in the fine arts. The probable godfather of pop art was an English painter called Richard Hamilton; he was on it before [Andy] Warhol or anybody else. He was really one of the major figures in the idea that one could use popular iconography and take it seriously.

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