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Grammy- Producer Optager Analogt GRAMMY- PRODUCER OPTAGER ANALOGT HAN HAR INDSPILLET OG PRODUCERET NOGLE AF SIN TIDS STØRSTE MUSIKAL- SKE NAVNE; D’ANGELO, ALICIA KEYS, THE ROOTS, AL GREEN, ERYKAH BADU, ANGELIQUE KIDJO FOR AT NÆVNE ET PAR STYKKER. RUSSELL ELEVADO ER ET GENI BAG EN MIXERPULT; EN SEISMOGRAF, DER OPFANGER DE MAGISKE ELEMENTER I MUSIKKEN OG FREMHÆVER DEM ELLER SOM EN DANSK MUSIKER UDTRYKTE DET; HAN KAN JO IKKE RØRE VED EN PRODUKTION UDEN AT BLIVE NOMINERET TIL EN GRAMMY. OG DET ER IKKE HELT FORKERT. AF KAT. SEKJÆR Du har garanteret lyttet til en af hans produktioner. New York- Analog i en digital tidsalder produceren, Russell Elevados liste over Grammy Awards og Tja. Eftersom Elevado har arbejdet med nogle af sin tids mest No #1 hits i USA er længere end mange almindelige menne- indflydelsesrige kunstnere og producenter, herunder Alicia skers indkøbslister. Almindelige mennesker kender ham må- Keys, The Roots, Al Green og Erykah Badu, Roberta Flack, Roy ske ikke af navn, men de kender hans lyd, for Mr. Elevado, med Hargrove, D’Angelo, Blackalicious, Rick Rubin, Tony Visconti, tilnavnet ’the Dragon’ – er kunstneren bag de indspilninger, de kan han jo starte dér: Hvad er det præcis han kan, som gør ham synger med på, når de tænder for radioen. For nylig gæstede til en af de mest efterspurgte pladeproducere og sound engine- han København, hvor han gav en masterclass i netop indspil- ers? Og hvorfor foretrækker han at optage på bånd og arbejde ning og musikproduktion. Hovedbudskabet? Digitalt er godt. analogt i en digital tidsalder? Analogt er bedre. Så meget bedre. »Hvorfor? Det korte svar er: Fordi det lyder bedre,« Russell Russell Elevado ser cool ud. Den slidte t-shirt, sølvsmykkerne Elevado holder en pause. Det er et statement. ’Analog Warrior’ og det lange hår understreger de filippinske træk. Tatoveringer- og ’Sonic Manipulator’ er hans undertitler på Twitter. Så tilføjer ne på armene har han selv tegnet. Han ligner en, der kan et par han: ninja-tricks eller to. Hvis musikproduktion var en kampsport, »Det lange svar kunne være, at det skaber et vist workflow; ville han såmænd også have det sorte multi-platin-bælte. Stem- det er langt mere permanent, end når du har en computer og men er blød, nærmest dæmpet – som om han har afstemt, bare kan trykke på undo-knappen. Så det, at lave en indspil- hvordan den skal lyde – spørger han venligt, om det er okay ning på bånd, tvinger musikerne til virkelig at have styr på de- han ryger? Vi sidder udenfor en solbeskinnet efterårsdag. Han res lort. Når det er gjort, så er det sådan, det bliver. Alene dét finder en pakke tobak og cigaretpapir frem. Rutineret samler element tvinger alle – både assistenten, musikerne og den pro- fingrene en smøg. Også dét foretrækker han at mikse selv. Det ducerende tekniker – til virkelig at være på pletten. Du bliver præfabrikerede er ikke hans stil. Elevado inhalerer, nikker: »So, nødt til at have erfaring både i dig selv og med dit instrument what do you want to know?« for at kunne gøre det på en effektiv måde.« At optage analogt er en dyr affære. Jo flere optagelser, jo mere ARTISTEN 2014 25 GEARLISTE compressors: bånd og desto dyrere produktion. Bånd om han har en bestemt kunstnerisk visi- Gates SA-39B forpligter. Når alle har arbejdet virkelig on? Gates Sta-level hårdt på at få ’det perfekte take’, tager »Jeg er ikke sikker på, jeg kun har én LA2A man det ikke bare om: Det fungerer som bestemt vision i tankerne, men jeg bestræ- Altec 438c (2) på gammeldags kassettebånd; hvis man ber mig helt sikkert på at give hver artist Altec 436c (2) optager ovenpå sletter man første indspil- en helt særlig sound. Men jeg tror nok, Fairman TSC (opto stereo tube ning. Altså kan nogle af musikerne blive jeg har en særlig lyd i forhold til at lave compressor) nødt til gå på kompromis med en lille meget lydmættede mix. Bassen er er som Civil aeronautics limiter-1529 fejl, de har lavet her eller der. Men det er regel ret fyldig, og trommerne lyder rigtig Urei 1178 netop de små ting, der gør det til en men- godt,« han griner, som om det sidste er en Telefunken U373a (2) neskelig præstation. Det gør det interes- selvfølgelighed: Collins 26W sant: »Men bortset fra det, så rent kunstne- Helios F760 (2) »Du kan ikke lave det perfekt hver risk, ja, så prøver jeg at få det bedste ud af CBS Audimax lll gang. Og udfra et lydmæssigt synspunkt, hver sang. Jeg forsøger at finde de magi- CBS ll så har det så meget mere dybde og bredde, ske elementer og fremhæve dem – finde UA 175b end hvis det gøres digitalt,« forklarer ud af, hvad jeg kan gøre for at løfte det op Dynax (Olivier Bolling design) Elevado og tilføjer: »Det er meget, meget på et andet niveau. Altså i stedet for at større. Det tåler ingen sammenligning.« sidde med sangen og tænke: ’Okay. Jeg vil mic pre’s and eq’s: bare gerne have det til at lyde godt.’ Jeg Telefunken V676a (10) Vintage og Vinyl forsøger at finde noget, jeg kan gøre, som Focusrite (2) Russell Elevado er kendt for at have en kan gøre nummeret endnu mere specielt.« Helios type 69 »Strawberry« (2) særlig vintage-lyd, og han er old school, Han er altid nervøs, når han skal møde Helios type 79 (green) (8) når det kommer til gear og præferencer. en stjerne for første gang. Men det går Neve 33115 (4) Hans musikalske rødder er plantet i mo- som regel fint. Divaproblemer har produ- Telefunken W395a (2) town, i gamle indspilninger af soul, funk ceren sjældent. Når det en ind imellem Filtek MK5b (4) og rock fra 60´erne, 70´erne og en del af sker, er det aldrig rettet mod ham person- Siemens W295b (2) 80´ernes musik – for eksempel de gamle ligt. Tit handler det om frustrationer, ner- Neumann OEV (2) Prince-numre. The classics, siger han: vøsitet eller sårbarhed: Neumann V476 (2) »Jeg voksede op med vinyl. Jeg tror, det »Måske tager jeg dem og musikken til Altec 9470A (10) er derfor, jeg laver alting analogt – fordi steder, de ikke havde regnet med. Der kan RCA- BA31 (2) det er den lyd, jeg har lyttet til fra en tid- opstå en frygt for, at jeg ændrer dem for WSW tube mic pre (2) lig alder. Og jeg har altid villet genskabe meget. Så skal en del af dem åbne sig for Urei 565t det,« Elevado zoomer tilbage i tiden: noget nyt. Jeg giver dem altid friheden til »Allerede da jeg var ung tænkte jeg; at foretage et valg. Du ved: ’Det er okay, effects: ’yeah, når jeg bliver lydtekniker, så vil jeg hvis du ikke kan lide det. ’Det er jo deres Flanger (lovetone) sørge for, at der er en ordentlig bund, or- beslutning.« Ring Stinger (lovetone) dentlig trommelyd du ved, alle de ting, jeg Big cheese (lovetone) savnede på mine yndlingsalbum; ’arh, de Better get your shit together Doppelganger (lovetone) skulle have lavet lilletrommen højere’ ...« Russel Elvardo startede som musiker og Mutron Flanger Han fortsætter opremsningen, og i et vidste ret tidligt, at han ville beskæftige Mutron lll glimt bliver den prominente plademester sig med lyd: »Jeg ville have noget at falde Mutron Bi-phase pludselig en begejstret teenager igen: tilbage på i tilfælde, af at musiker-tingen Mooger Fooger »Jeg har faktisk overført en del af mine ikke lykkedes,« siger Elevado. Et udsagn, Maestro USS-1 gamle vinylplader gennem high-quality der virker komisk, hans succes taget i be- Maestro Rhythm & Sound convertere og pre-amps og lavet mine tragtning. Han har arbejdet sig op fra bun- Micro Synthesizer egne versioner af dem. Og de lyder, jeg vil den og begyndte i et studie som 18-årig Bass Drive (fulltone) sige, 30 procent bedre end hvilken som med at tage imod gæster og lave kaffe. Det Choralflange (fulltone) helst remastered cd, du kan finde.« har betydning for, hvordan man betragter Tube tape echo (fulltone) sit arbejde sidenhen – at det er noget, maestro echoplex (tube) Lyden af en Grammy man har gjort sig fortjent til, forklarer Russell Elevado er kendt som en kunstne- Russell Elevado. Med et skævt smil ind- Motion Sound AR-112 risk producer, der har stor indflydelse på, skyder han, at jo, det er da et særligt privi- Vermona retroverb hvordan et nummer kommer til at lyde. legium at skulle arbejde for klienter, som MXR Phaser (2) Derfor er det nærliggende at spørge ham, man i forvejen er fan af. MXR Omni ARTISTEN 2014 26PCM 41 KILDE: GEARSLUTZ Foto: Foto: © Lizette Mikkelsen Her, i dansk solskin, virker han som en beskeden fyr, der ved, hvad han er god til. Han går ind i en ny produktion med åbent sind og foretrækker at improvisere: »Jeg har faktisk ingen rutiner. Mine ho- vedassistenter ved, hvilket gear de skal sætte op; hvilke mikrofoner jeg foretræk- ker til en optagelses-session. Jeg træder ind med så godt som ingen plan fra be- gyndelsen – og prøver på at føle, hvor det bærer hen, mens jeg er i gang med det. Så begynder der at forme sig en plan.« På spørgsmålet om, hvorfor folk vælger ham; hvad hans trademark eller super- power er, svarer han, at mange musikere fortæller, at han har fået en særlig følelse MUSIK MÅ IKKE frem i sangen eller på det færdige album: »Jeg tror, det er min styrke. Det er godt STRESSES FREM at lære det tekniske så godt, du kan; hør efter hvad læreren siger og læg det så bag dig: Altså, så det bliver noget, du bare gør ERANN DD DELTOG I DEN MASTERCLASS MED RUSSELL – uden at skulle tænke over det.« Med andre ord; ’better get your shit to- ELEVADO, DER FOREGIK I MEDLEY STUDIOS.
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