By Phil Ramone
Sinatra. Streisand. Dylan. Pavarotti. McCartney. Sting. Madonna. What do those musicians have in universal along with their super-stardom they've got all labored with mythical song manufacturer Phil Ramone.
For virtually 5 many years, Phil Ramone has been a strength within the track undefined. He has produced files and collaborated with virtually each significant expertise within the enterprise. there's a craft to creating files, and Phil has spent his existence studying it. For the 1st time ever, he stocks the secrets and techniques of his trade.
Making Records is an engaging glance "behind the glass" of a recording studio. From Phil's exhilarating early days recording jazz and advertisement jingles at A&R, to his first studio, and eventual mythical manufacturer prestige, Phil enables you to take a seat in at the classes that created the most memorable tune of the 20 th century -- together with Frank Sinatra's Duets album, Bob Dylan's Blood at the Tracks, Ray Charles's Genius Loves Company and Paul Simon's Still loopy finally those Years.
In addition to being a ringside seat for modern well known track background, Making Records is an unparalleled educational at the magic at the back of what tune manufacturers and engineers do. In those pages, Phil deals a unprecedented peek contained in the method song is made . . . illuminating the artistic notion methods in the back of one of the most influential classes in song history.
This is a publication in regards to the artwork that's making files -- how it begun, how it is now, and every thing in between.
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Extra resources for Making Records: The Scenes Behind the Music
To finish the album we reprised the whistling theme—this time including strings—thus bringing the assumption complete circle. unique tape field for the motorbike sound results on “Movin’ Out (Anthony’s Song)” Phil Ramone assortment sometimes anything humorous could take place and we’d snigger approximately it for days. For “Stiletto” (52nd highway) we would have liked the crisp snap of a switchblade knife clicking open. It had rained that day, so we acquired an umbrella and Liberty practiced commencing it so the timing will be correct. we start recording…here comes the take…and SNAP! The umbrella flew correct off the head of the deal with. The timing—and the sound—couldn’t were greater. different makes an attempt to duplicate a selected impact weren’t as uncomplicated. The sound of breaking glass that opens “You could be correct” firstly of Glass homes used to be a tricky influence to accomplish. We didn’t need a usual glass-break impact; we needed the type of sound that comes while a wide plate glass window breaks, and there’s a split-second hold up among the crack and the full sheet crumbling to the floor. I can’t let you know what percentage items of glass we broke—and what percentage methods we fractured it—before we chanced on the piercing sound that’s heard at the checklist. First we took items of cinder block, lined them with wooden, positioned the glass on most sensible, and hit it with a sledgehammer. It didn’t sound correct. We attempted seven or 8 other kinds of hammers and we nonetheless couldn’t mirror the frightful shatter that our hearts have been set on. Then I remembered a trick that considered one of our engineers had used while he wanted a glass-break influence for a checklist: He tossed a number of five-gallon drinking-water jugs down the again stairwell of the studio at 799 7th street. We didn’t have ingesting water within the studio day after today, and the stairwell used to be a large number, yet hey—he used to be creating a list. i used to be getting ready to toss a number of jugs myself while one other engineer walked into the studio and realized of our quandary. “You’re breaking the incorrect glass—it’s too thin,” he acknowledged. “If you really need a bloodcurdling shatter you’ve received to take advantage of sheets of glass which are greater than a quarter-inch thick, and you’ve received to droop them. ” the next day I ordered the appropriate glass. while it was once brought, I positioned a bit over wood horses and smashed it from above. I miked the hell out of it; there have been microphones everywhere in the studio—above, lower than, to the perfect and left aspects, a long way and close to. It took approximately thirty sheets of glass, and the best-sounding take got here at the final piece, with one crack of the hammer. The time and price was once worthy it: The harrowing glass-break we captured gave Glass homes the pluperfect kickoff it merits. Larry Franke, an A&R engineer who labored at the Nylon Curtain and Songs within the Attic, witnessed the construction of one other sound impression we devised for Glass homes: “Billy and Phil desired to create a Spanish style for the breaks on ‘Don’t question me Why,’ and have been trying to find percussive issues to accomplish the influence. Billy spotted that our receptionist, Laura Doty, was once donning footwear with heels.