RT Discussion List Q&A IV
1/28/2008 (updated 1/28/2008)
14. Say you have a friend visiting and you play them some interesting new
music that you have come across- perhaps the latest from Ollabelle or Hazmat
Modine. If you thought that it would encourage your friend to buy other
recordings or attend concerts by those artists, would you consider burning
them a copy?
RT: I would be more likely to give them mine and get another one. I love to
buy CDs and support fellow artists. I have enjoyed CDs, and tapes, going
back a bit, given to me by others, but I rarely do it myself, usually only
as something like a rehearsal tape for an upcoming tour.
15. Richard, for most of your career your records/CDs have not had much in
the way of obvious production, they've sounded pretty much like people
playing instruments and singing.
The exceptions would be the records that Mitchell Froom produced. I think
there's some fine work and records out of that phase of your career, and
they're not, in my opinion, over-produced, just more obviously produced.
Since "going independent" your productions have become more natural, more
like a live performance again. Is this a function of budget, or is this a
And how "live" is the band in the studio? All in the same room - with a
possibility of bleeding between various mikes and amps - or playing in real
time but all in different booths? (I've probably just betrayed my profound
ignorance of the last 20 year's advances in recording technology and
RT: Production is currently pretty much the way I like it, fairly
naturalistic, with just little bits of studio effects. The first two records
with Mitchell, they were trying to get them on the radio, so the drums are
big, there's big reverb, etc. The next two were trying to be more 'garage'
and sonically interesting, which I think they are.
There are budget constraints now, so that does affect some decisions - we
used to pop over to the UK to add some overdubs, for instance, but that
doesn't happen as much now.
We record as live as possible, but try to get separation to fix small
mistakes on good takes. On Sweet Warrior, we started with the drums and
electric bass in the main room, with vocal in the booth, and guitar amp in
the piano room. Rhythm guitar was in the main room if electric, and in the
TV lounge if acoustic. For songs with acoustic bass, I moved into the main room (vocals and guitar), and the bass moved to the vocal booth.