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Post by kcatthedog on Apr 1, 2019 15:33:28 GMT -6
Great producer interview!
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Post by christopher on Apr 2, 2019 2:58:34 GMT -6
I only have one iTunes album, not counting the free U2 one. Superunknown. It was a test to see how good the original iTunes was. It failed miserably so I never bought another. After mastering for iTunes, I think they reloaded it into their library at better quality and it’s better now. It’s on my phone and always starts playing when I get in the car. It sounds pretty good now, and it doesn’t get old. The drums blow me away. So anyway, I forget all about this thing playing all the time, all the songs. The other day my 10 year old daughter says “Daddy I want to hear the Black Gold Sun song” .... she never wants to hear any rock music, so that’s weird. Also I found it interesting that of all the songs she chose the big hit. So now I’m excited to check out this video. Thanks for posting!!!
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Post by jeremygillespie on Apr 2, 2019 8:10:40 GMT -6
I got about 5 mins in and him talking about the drums sounds... I just had to laugh about the no compression thing.
I was Jason Corsaro’s assistant for 10 years and he was a very good friend of mine up until he passed away. Jason could get that drum sound in literally 10 mins with great ease. I’ve never personally witnessed anybody position mics and throw it into gear willy nilly, turn some knobs without even looking at them and all of a sudden BOOM - there it is, sounds like a record.
That was Jason’s Kepp snare drum, I tracked it many times, unfortunately it was stolen about 7 or 8 years ago and Greg was nice enough to make him another one. I believe Dony Wynn now has that drum.
I’ll check that vid out some more when I get a chance but I just had to shed some light on the person I believe to be responsible for those drum sounds on that record (of course other than the man hitting them haha).
Also, I’ve read before people have said that the vocals were on an 87, Jason always told me they were done on a FET47, the studio had two of them and this one specific 47 was amazing on Chris’ voice.
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Post by Ward on Apr 2, 2019 8:47:47 GMT -6
I got about 5 mins in and him talking about the drums sounds... I just had to laugh about the no compression thing. I was Jason Corsaro’s assistant for 10 years and he was a very good friend of mine up until he passed away. Jason could get that drum sound in literally 10 mins with great ease. I’ve never personally witnessed anybody position mics and throw it into gear willy nilly, turn some knobs without even looking at them and all of a sudden BOOM - there it is, sounds like a record. That was Jason’s Kepp snare drum, I tracked it many times, unfortunately it was stolen about 7 or 8 years ago and Greg was nice enough to make him another one. I believe Dony Wynn now has that drum. I’ll check that vid out some more when I get a chance but I just had to shed some light on the person I believe to be responsible for those drum sounds on that record (of course other than the man hitting them haha). Also, I’ve read before people have said that the vocals were on an 87, Jason always told me they were done on a FET47, the studio had two of them and this one specific 47 was amazing on Chris’ voice. Not scoffing at anything you've said here when I ask: Are you suggesting that this was Jason Corsaro's work and not Michael Beinhorn's? You know, taking credit for someone else's work does happen in the music business  . . . Just curious. I loved everything about the sound of that record also. |
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Post by jeremygillespie on Apr 2, 2019 9:09:50 GMT -6
Not really my place to say that.
I’m saying Jason was the engineer on that record. He had gotten drum sounds like that before the Superunknown record and was able to reproduce them with ease in any situation.
I know Jason and Michael had a falling out before that record was even finished, so they weren’t exactly friends. It’s just annoying to see this type of thing with one person taking the majority of the credit for the way things sound.
I got pissed about this in another situation when there was a gearsutz thread about this record. I went into work all pissed off about it and when I started asking Jason about it his response was “eh who cares kid. Lets see him make another record that sounds like that”.
He was very much so a move forward person and not really dwell on Bs. He also was the type of guy that could tell you pretty much the exact pieces of gear he used on any song of any record he did. Amazing memory in that way.
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Post by swurveman on Apr 2, 2019 9:10:38 GMT -6
I got about 5 mins in and him talking about the drums sounds... I just had to laugh about the no compression thing. I think great drum recording engineers are the most undercelebrated people in rock music. The 90's was a great era for great recording engineers recording great drummers in great rooms on great gear. |
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Post by Ward on Apr 3, 2019 6:19:16 GMT -6
Not really my place to say that. I’m saying Jason was the engineer on that record. He had gotten drum sounds like that before the Superunknown record and was able to reproduce them with ease in any situation. I know Jason and Michael had a falling out before that record was even finished, so they weren’t exactly friends. It’s just annoying to see this type of thing with one person taking the majority of the credit for the way things sound. I got pissed about this in another situation when there was a gearsutz thread about this record. I went into work all pissed off about it and when I started asking Jason about it his response was “eh who cares kid. Lets see him make another record that sounds like that”. He was very much so a move forward person and not really dwell on Bs. He also was the type of guy that could tell you pretty much the exact pieces of gear he used on any song of any record he did. Amazing memory in that way. That was a great read. I've had a few of those moments. LOL |
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Post by m03 on Apr 4, 2019 11:15:42 GMT -6
I got about 5 mins in and him talking about the drums sounds... ... Also, I’ve read before people have said that the vocals were on an 87, Jason always told me they were done on a FET47, the studio had two of them and this one specific 47 was amazing on Chris’ voice. He mentioned that different vocal mics were used on the album, including the FET47. Skip to about 47 minutes in: |
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Post by Deleted on Apr 4, 2019 16:20:20 GMT -6
He does big up Jason's name as the engineer and encourages the viewers to check out his long catalogue during this episode.
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. . . Just curious. I loved everything about the sound of that record also. 
