More From
the Mix Room

Studio M
Febuary 26 - March 5,1988
In between the BW gigs, I spent most of a couple weeks with James Guthrie mixing "Dogs of War" and "One Slip" for Pink Floyd's concert video "The Delicate Sound of Thunder". Talking about an engineer, this guy was awesome.

He actually measured the equilateral triangle out for the NS-10's (nobody does that!) and they did backwards 1/2 in. safeties (the transients are reversed to hit the tape softer). Bob Ezrin's guy Ringo Hrycyna was there and they had some good stories about the recording of "The Wall". The phone operator (I'm sorry there doesn't seem to be any answer) was a real operator they recorded without her knowing it, and talk of doing window edits on the 2" with a long straight edge (nobody does that either!).

March 17 - April 3 1988
Shelly Yakus had a gig mixing "Lead Me On", Amy Grant's first record on A&M in the New D, which had one of the first G-Series consoles. At that time the purist's hated SSL's because they didn't sound that great. I called it the SSL sheen, and Shelly had been chasing this problem for a while. A&M SSL's used Neve line amps in the monitor section, which helped. They were still listening "back" to the mixes through the shitty 2 track tape playback section.

Studio D had the best of everything under the hood, and the new G-SSL was supposed to sound great, but "ears" Yakus wasn't happy. I could hear it too, which helped make the Yak not look like a goofball. We had SSL and A&M techs going over everything for 2 days and they couldn't find it. Mikey had X'ed out his ears in red "heads" tape as a joke for a while.

Shelly swore it was the computer, and I did everything possible to make it happen more. I joined mixes, copied mixes, inserted mixes, rewound, fast forwarded, all kinds of stuff for 2-3 hours and nothing, sheen still there. By this time everyone had bailed and it's just me and Shelly. He and Jimmy had a habit of pulling down the master fader to turn down the volume so you could talk (old school), which writes into the computer.

We were about 20 seconds into the mix and I popped the master fader into Absolute and Shelly hit the stop button, we found it. From that point on, the master fader stayed in Absolute for the entire mix until the fade, SSL didn't like us as much, and Shelly knew I could hear!

March 30, 1988
I did a one day gig tracking Charlotte Caffey with Thom Panunzio in B that was fun, and Kenny Aronoff dropped his pants for goof's.

April 4 -7, 1988
Brenda Russell was on A&M at the time, and Tokes did a 12" remix of "Gravity" from "Get Here" for a few days. Herb kept hanging around the door digging the groove, so I invited him in to meet Tokes and a couple hours later I said "you should get Herb to play some trumpet on this thing". The next day Mr. Alpert was a blowin' and it fit great, and he hung out on the session for a while.

April 11 - 27, 1988
A bunch of 2-3 day gig's came in:

U2 Rattle and Hum ruff mixes with Scott Litt in D.


Paul Kelly and the Messengers
Under the Sun - w/Scott Litt. We mixed "Dumb Thing's" and I recorded some acoustic songs with Paul in the mix room lounge (I lost the cassette) that later were released in Australia, with me listed as Producer (where's the points).
I've Done All Those Dumb Thing's
1990 Single
MOST WANTED MAN IN THE WORLD
Mushroom K1116

Most Wanted Man In The World
I Had Forgotten You
Beggar On The Street Of Love (Live)
I Won't Be Your Dog Anymore
------------------------------------------------------
All tracks written by Paul Kelly
[1] & [2] Produced by Scott Litt and Paul Kelly
[3] Produced by Steve Gordon
Recorded live at 96FM Perth with member of
Weddings, Parties, Anything.
[4] Produced by Bob Vogt
Recorded live at A & M studios Los Angeles
April 1988


Stevie Nicks - Tracking "Dial the Number" w/Gordon Fordyce and Dan Nash (he'd quit by now) in D. Great song - unreleased as far as I know. All the big-shots from Modern Records were there.

Kim Carnes "View from the House" with Niko - It had been about 8 years since Niko did that ruff of "Betty Davis Eyes" and moved the shaker off the mark. I think we mixed the whole record in two days, but she picked.

Kenny Loggins song "Blue on Blue" from "Back to Avalon" with Brian Malouf. I got to bill Kenny $50 for doing the TV track mixes. Wheee!!, the big time.

A novelty song with Paul Lani - (he kept complaining that Jimmy wouldn't hire him, what a dork!)

U2 tracking in D - "All I Want is You"  - This was a three ring circus with Dave Tickle, Marc DeSisto, Claude Achille, and Randy Wine - and they through me into the fire. We had about 9 tape machines going at all times so no one had to wait for cassette's after the gig. Pure HELL!!!

 

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  Bob Vogt - Recording Engineer
A&M Studios
The High Bias Years  1986 - 1996

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