Jimmy als Produzent

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  • Beteiligte Poster: Black Dog
  • Forum: UNSERE LIEBLINGSMUSIK
  • aus dem Unterforum: Led Zeppelin
  • Antworten: 1
  • Forum gestartet am: Sonntag 25.09.2005
  • Sprache: deutsch
  • Link zum Originaltopic: Jimmy als Produzent
  • Letzte Antwort: vor 15 Jahren, 6 Monaten, 14 Tagen, 23 Stunden, 54 Minuten
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    Re: Jimmy als Produzent

    Black Dog - 22.05.2007, 08:39

    Jimmy als Produzent
    ...in a
    Guitar World interview Jimmy takes a stab at Glyn...

    > GW: How did you develop the backwards echo at the end of "You Shook Me" ?
    > Page: Didn't I tell you about that before? No? Well, I should because
    > it's important -- it proves that I pioneered that effect. When I was
    > still in The Yardbirds, our producer Mickie Most would always try to
    > get us to record all these horrible songs. He would say, "Oh, c'mon,
    > just try it.If the song is bad we won't release it". And, of course it
    > would always get released [laughs]. During one session, we were
    > recording "Ten Little Indians", which was an extremely silly song that
    > featured a truly awful brass arrangement. In fact, the whole track
    > sounded terrible. In a desperate attempt to salvage it, I hit upon an
    > idea. I said, "Look, turn the tape over and employ the echo for the
    > brass on a spare track. Then turn it back over and we'll get the echo
    > preceding the signal." The result was very interesting -- it made the
    > track sound like it was going backwards.Later, when we recorded "You
    > Shook Me", I told the engineer, Glyn Johns,that I wanted to use
    > backwards echo on the end.

    > He said, "Jimmy, it can't be done". I said "Yes, it can. I've already
    > done it." Then he began arguing, so I said, "Look, Im the producer. Im
    > going to tell you what to do, and just do it." So he grudgingly did
    > everything I told him to, and when we were finished he started refusing
    > to push the fader up so I could hear the result. Finally, I had to
    > scream, "Push the bloody fader up!" And low and behold, the effect
    > worked perfectly. When Glyn heard the result, he looked bloody ill! He
    > just couldn't accept that someone knew something that he didn't know --
    > especially a musician! The pompous git!The funny thing is, Glyn did the
    > next Stones album and what was on it? Backwards echo! And I'm sure he
    > took full credit for the effect.
    >
    > GW: What role did your engineers play?
    > Page: Glyn Johns was the engineer on the first album, and as I
    > mentioned earlier, he had a bit of an attitude problem. I'll tell you
    > what he did.He tried to hustle in on a producer's credit. I said, "No
    > way, I put this band together, I brought them in and directed the
    > whole recording process, I go my own guitar sound -- I'll tell you,
    > you haven't got a hope in hell". And then we wend to Eddie Kramer for
    > the second album and Andy Johns after that. I consciously kept
    > changing engineers because I didn't want people to think that they
    > were responsible for our sound. I wanted people to know it was me.


    and Later

    > One of my favorite mixes is at the end of "When The Levee Breaks",
    > when everything starts moving around except for the voice, which stays
    > stationary. I'll tell you a funny story about that song. Andy Johns
    > did that mix with me, and after we finished it, Glyn, Andy's older
    > brother, walked in. We were really excited and told him, "Youve got to
    > listen to this". Glyn listened and just said, "Hmmph, Youll never be
    > able to cut it. It will never work". And he walked out. Wrong again
    > Glyn. He must have been seething with envy.



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