Armored Saint: No Dormir hasta "La Raza"

BY GONZO SANDOVAL, JONATHAN SAXON

Recording involves several processes — preproduction, tracking, mixing, and mastering. The methods involved in each step have changed greatly over time. Musicians, engineers, mixers, and producers have more choices than every before with regard to how they navigate through the recording process. From preproduction all the way through the mix, Armored Saint, the Los Angeles-based classic metal band, along with engineer Bryan Carlstrom [Tape Op #28], incorporated a multitude of unique, innovative, and practical techniques while recording their latest album, La Raza. The recording and mixing was done at Tranzformer Studios in Burbank, CA, which is co-owned by Carlstrom and producer/engineer Dave Jerden.

Chris Shaw (bonus): Dylan, Weezer, A Tribe Called Quest

BY JESSE LAUTER

Bob Dylan, Leonard Cohen, Public Enemy, Phish, A Tribe Called Quest, Super Furry Animals, Lou Reed, Jeff Buckley, Derek Trucks, Elvis Perkins, Bad Brains, Weezer, Ween and Wilco. These are just some of the seminal artists and bands whose music has passed through the formidable ears and brilliant mind of Chris Shaw. In his 20 years as a professional producer/mixer/engineer, he has worked on five of Rolling Stone's "500 Greatest Albums of All Time." His discography is monstrous, but anyone who has ever had the pleasure of meeting the man knows he is one of the sweetest and most unassuming gentlemen in the industry. He may have gotten far for his talents, but his lack of ego may be what defines him. With a boyish lisp and a sack full of stories, he instantly makes you feel welcome and on his level through his excitement and enthusiasm. I caught up with him in his Brooklyn apartment, exploring the life and career of the man who went from playing bass on LL Cool J's MTV Unplugged special to mixing Weezer's smash debut to becoming the man that Bob Dylan calls his engineer.

DIY Diffusors

BY BRAD WILLIAMS

Mickey Newbury's Looks Like Rain: Remastering and Recreating A 60s Classic

BY JESSICA THOMPSON

Last fall, the Magic Shop's Steve Rosenthal [Tape Op #66] and I restored and remastered Mickey Newbury's Looks Like Rainfor the four CD box set American Trilogy, released in May 2011 by Drag City. I'll come right out and confess that when I finished the mastering and sat down and listened to the whole thing, it literally moved me to tears. The second to last song, "San Francisco Mabel Joy," ends with a swelling, angelic choir whipping through a Leslie cabinet and a heartbreaking final line. (I won't spoil it). Then it dissolves into atmosphere, a rainstorm, wind chimes. You might know Mickey Newbury best for writing hits like "Just Dropped In (To See What Condition My Condition Was In)" for The First Edition (with Kenny Rogers on vocals) and "American Trilogy," famously covered by Elvis Presley. The Nashville singer songwriter was a contemporary of Kris Kristofferson and a brilliant and prolific songwriter. He also was way ahead of his time when it came to studio production, most evident on his 1969 release Looks Like Rain, which he recorded with engineer (and very busy session guitarist — he played the guitar riff on Roy Orbison's "Pretty Woman") Wayne Moss at Wayne's Nashville studio, Cinderella Sound. When Steve and I pulled up the original stereo master for mastering, we discovered we had a damaged safety copy, riddled with dropouts and wow and flutter. Luckily, we also had great sounding 96 kHz / 24-bit transfers of the original 2-inch, 16-track analog master. So Steve and Magic Shop engineer Brian Thorn remixed, or, really, recreated the original stereo mix by reverse engineering it from the multitrack. Curious about this process, I spoke with Steve, Brian, and Looks Like Rain's original recording and mix engineer Wayne Moss about creating and recreating Mickey's epic album.