Interviews

Jeff Powell (bonus): Record Listening & John Fry

Coming up through the ranks of Memphis' fabled Ardent Studios [Tape Op #58], Jeff Powell has been making cool records for more than two decades, initially as an assistant engineer, then as a staff engineer/mixer, and finally as a producer. He's been independent since 1997, but still considers Ardent his home base. Powell's enviable credit roster includes the likes of Bob Dylan, B.B. King, Tonic, Big Star, The Bottle Rockets, Stevie Ray Vaughan, Sharon Jones, Centro-matic, Primal Scream, Lucinda Williams, Ryan Adams, and The Afghan Whigs. His early years at Ardent landed him sessions working elbow-to-elbow with producer/engineer legends such as Jim Gaines, Glyn Johns, Rob Fraboni, John Hampton [Tape Op #92], Joe Hardy and Jim Dickinson [Tape Op #19]. And getting the call to do six albums with Tom Dowd certainly must've been a career highlight. Gleaning and condensing a huge "bag of tricks" from these greats, Jeff has come up with his own eclectic approach to making records. In addition to working on multiple gold and platinum records, as well as six Grammy-winning projects, Jeff currently chairs the Producer and Engineering wing for the Memphis Chapter of NARAS, and has been honored as a legendary producer of Memphis at the annual Blues Ball. Recently, Powell has learned the disappearing art of cutting vinyl, apprenticing under Larry Nix on the original Stax lathe at Ardent. He's been cutting vinyl, under the name Take Out Vinyl, for artists from all over the country such as The Twilight Singers, Centro-matic, Mickey Hart, and Lucero. In July of 2011, Jeff and Lucas Peterson opened Humongous Too, an open room style tracking space in the Edge district in Memphis. And since 2011, Jeff's also been an Adjunct Professor, overseeing senior projects at the University of Memphis Recording Program. I've always been struck by Jeff's approachability, friendliness, and awesomely skewed sense of humor. He has recorded my band, The Weisstronauts, at Ardent on a few different occasions, and it's been a pleasure to take off my own "producer hat" and work with him.

Growing up in the '80s, a lot of my recreational listening was done on cassette in the car. Some say that MP3s are the cassettes of today. Do you think MP3s sound better than cassettes did?

See, I'm not so sure that they do. I mean, certainly the store-bought cassettes sounded horrible. But the mix tapes I used to make myself sounded pretty good. Better than MP3s. I say that because I'm going on memory. Cassettes didn't change the fundamental dynamics, stereo spread or reverb tails the way MP3s do. I can promise you that. The thing I like about MP3s, when I finally quit bitching about them, is the convenience, fun and quickness that you can have. But I can't fight for them in any way regarding fidelity or gaining any real information. It mortifies me if someone were to listen to my work to hire me based on an MP3. They sound terrible.

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