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Home , Alan Parsons, A Valid Path, Eric Woolfson, Nathan East, Paul McCartney and Wings, Stereotomy

MAY 2010 ISSUE MMUSICMAG.COM PRODUCER Capitol Studios Annie Colbeck One of rock’s true sonic pioneers shares valuable lessons By Howard Massey

WHEN THE CLANGING CACOPHONY OF ALARM CLOCKS . In 1975 the two formed , that announces the beginning of ’s “Time” was fi rst heard in which the designated “star” was not some fl ashy guitarist or in 1973, the world woke up to the true value of a talented studio singer but Parsons’ exceptional sonic skills. During its 15-year run, engineer. The man who recorded those clattering clocks, Alan the Project crafted moody hits like “Eye in the Sky,” “Don’t Answer Parsons, helped to shape the Floyd’s The Dark Side of the Me” and the instrumental “,” which is still played frequently at Moon into a masterpiece of sonic innovation—and in doing so turned professional sporting events. Casual fans of the group are often the science of engineering into high art. surprised to learn that Parsons rarely sang with the group; vocal By that time, Parsons had already racked up an impressive duties were shared by Woolfson (who passed away in December) résumé with his work at the world-famous EMI Studios on Abbey and a constantly changing roster of guest singers. Road in ; among the very fi rst he assisted on were Following the Project’s dissolution, Parsons embarked on a ’ Let It Be and . Within a few short years solo career and took a serious interest in surround-sound remixing. he was engineering for acts like and Paul McCartney, In 2008 he began an ambitious project entitled Art and Science of as well as producing chart-topping records for top British Sound Recording, a comprehensive series of instructional videos artists like Pilot, Cockney Rebel and . covering every aspect of making quality recordings (available at But Parsons’ vision extended well beyond the board. A gifted artandscienceofsound.com). He also recently released a concert on keyboardist, bass player, guitarist and fl autist, his multifaceted DVD and CD, Eye 2 Eye: Live in Madrid. We spoke with Parsons, talents attracted the attention of fellow producer and 61, about his ever-evolving relationship with the world of sound. ‘I’m not one of those people who longs for the old analog sounds.’

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What was the genesis of Art and sound they like, but I always found it to Science of Sound Recording? be a nuisance that you would lose that It all started from a conversation I was punch. And, of course, the converters having one day with my friend Julian have improved dramatically over the last Colbeck. Julian is an author, music few years, as has our understanding of journalist and former who what problems exist and how to best made a series of instructional videos deal with them. It has to be said that, about audio recording back in the late in the grand scheme of things, 1980s. We were talking about how much digital recording is still quite a technology has advanced since then, and young technology. we both kind of said, “Well, maybe it’s Eric Woolfson and Parsons time to try it again.” Our eyes lit up at the I thought that was a really cool idea. And l Where do you think digital possibilities. We knew we could combine learned which of my favorite engineers like is headed? high-definition video with high-quality audio, to compress, and which don’t. As many I’m quite sure that digital recording will and we decided also to make it very, very people know by now, I absolutely hate using eventually get to the point where you can in-depth—almost encyclopedic—with lots of compression when mixing. I recognize that get it to sound any way you want it to sound. interviews with , engineers and it has a sound, and that it’s become quite If you want it to sound like an analog tape producers to expand the scope. That’s fashionable, but it’s an effect I just don’t recorder running at 30 ips with an NAB how things got started. Julian ended up care for. I much prefer using equalization in [equalization] curve, you’ll be able to do becoming very involved in ASSR, serving creative ways. that through emulation plug-ins and the as co-producer and co-writer with me. like. Of course, the purists will argue, “But How did the Eye 2 Eye CD and DVD it’s digital, so it can’t ever sound exactly come about? like that.” I guess it all depends on how you It was originally recorded for a Spanish TV look at things … or, more accurately, special. It was all recorded in Pro Tools, how you hear things. Still, one day I think ‘I absolutely hate thank goodness, and it came out really nicely. people will look back and laugh at themselves. I’m quite proud of it sonically. “Why did we ever have a problem with using compression digital recording?” they’ll ask. “What’s when mixing. I You say “thank goodness” for Pro Tools, wrong with it, anyway?” I think our ears but I know that you’ve also recently have improved with age, same as the much prefer using used Steinberg’s Nuendo software. technology has—we know what to listen for. Well, we’ve been dubbing the ASSR We didn’t know that in the early days, but equalization in audio in Cubase, so I’ll go with whatever now we do. software works best in the situation. It creative ways.’ doesn’t matter to me a whole lot, because in It sounds as if you’re more of a recent years—ever since the whole computer pragmatist than a purist. revolution—I’ve always worked with an I think so—whatever works. I’ve actually How do you feel about how it’s engineer. I’m just not very good at mixing always been that way. In every project, turned out? with a mouse, so I’m taking a more traditional you’ll have a given artist to work with, a I’m thrilled with the results of our efforts. I’m production role these days. given console to use, a given set of especially pleased at my time of life to be microphones that are available. giving something back to the industry that Would you prefer to still be working You have to somehow find a way gave so much to me. I’m not as busy as I in analog? to make that particular combination work the used to be, so this seemed like a really good No. I certainly like the incredible flexibility best way it can. You can’t take the position use of my time. It just seems like a great time that DAWs [digital audio workstations] of, “I refuse to do this session because for a project like this, given that everybody allow, and I’m not one of those there’s no SSL console.” now has the capability of making a hit record people who longs for the old in their bedroom using GarageBand and analog sounds. I actually feel In the studio with the Alan Parsons Project tools like that. that some digital sounds are superior to analog, especially Did you learn anything yourself from when you’re talking about doing ASSR? transient things like drums. I learned a lot, actually. [Producer and To my ears, digital recordings engineer] Sylvia Massy, who I interviewed of drums are closer to reality for the project, told me about one of Rick than analog recordings. Kick Rubin’s favorite techniques, which he calls drums, especially, have a “slippery fader.” It’s quite simple: He just punch in digital that analog takes the main stereo bus master fader and tape had never been able to pushes it up a dB on every chorus. That way, capture. Analog purists may you don’t actually hear a difference in the argue that it’s that slight tape sound, but you feel an increase in intensity. compression that makes the

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M mag 3.indd 49 5/14/10 1:50:54 AM MAY 2010 ISSUE MMUSICMAG.COM PRODUCER Coley Read

With drummer , guitarist Tim Pierce and bass Parsons at work in the 1970s player Nathan East

What do you believe is the most and then the next No. 1 was another record Is there anyone you wish you’d had the important part of the signal chain in I produced for Cockney Rebel [“Make Me opportunity to work with? recording? Smile (Come Up and See Me)”]. That marked I would have to say , especially I’m torn between microphone and speaker, a level of professional achievement I’ve never when Keith Moon was alive, or even just Pete but I think I’d have to say microphone, really. duplicated since. Townshend on his own. I’ve always been the That’s because the speaker only imparts group’s No. 1 fan, and I still believe Townshend the perception of the sound, whereas the What’s been your biggest regret? to be the greatest living songwriter of all time. microphone is critical to the creation of Fortunately, I’ve had very few disappointments If I ever had the opportunity to work with him, the sound. It’s true that you can’t record in my career. Certainly, not being asked I would absolutely jump at it. accurately through inaccurate speakers—but to do the [2003] surround sound remix then again, how do you defi ne “accurate”? of Dark Side of the Moon was a big one. What’s your favorite Who album One man’s accurate is another man’s [Latter-day Floyd engineer James Guthrie sonically? bass-heavy. was tapped instead.] That absolutely Who’s Next, although I don’t think that was infuriated me, though the upside of it is necessarily [co-producer] ’ fi nest It’s interesting that the two components that there’s now a pretty large following hour with the band, much as I like his work. you identifi ed are at the beginning and of my original quadraphonic mix, which I would love to have the chance to remix end of the chain. has been heavily bootlegged. I also think Who’s Next in surround—I think that’s an Well, you can always attach a power amplifi er I’ve made one or two good albums that album that would lend itself well to the 5.1 to a speaker, and a microphone preamp to didn’t achieve the commercial success they treatment. “Won’t Get Fooled Again,” for a mic—but where do you stop? I think deserved, and that’s always disappointing. example, deserves to have a huge reverb the raw sound of a great condenser I thought [1985] was a really on it, which it doesn’t have at the moment. microphone is the best place to begin. If good album, even though it didn’t sell So Pete, if you’re reading this, please get you have that as your starting point, you’re nearly as many copies as some other in touch! unlikely to have any major trouble making a Alan Parsons Project records. As I think good recording. every engineer or producer will tell you, Do you have plans to record another there are always some regrets on every solo album? What has been the highlight of your record you make: mistakes that you I have to say, I think I have one more career to date? wished you’d spotted, notes that were album left in me! Actually, we’ve already I remember being extremely elated in 1975 slightly out of tune, vocals you wish you’d recorded one track of that album as part when I had two No. 1 records in the UK mixed slightly louder, things like that. of the process of making ASSR. And not back to back. The fi rst was with the group That’s why it’s always nice when only did I write this new song, called “All Pilot—it was a song called “January.” That you get the opportunity to remix an album Our Yesterdays,” I actually sang the lead topped the charts for about three weeks, years after the event. vocal on it.

Alan Parsons has been making great records for more than 35 years. To get a fl avor of his distinctively “clean” sound, check out these seminal works featuring Parsons as artist, producer or engineer:

Jeff Beck, Beck-Ola (1969) Pink Floyd, The Dark Side of the Moon (1973) Paul McCartney and Wings, (1973) Pilot, Pilot (From the Album of the Same Name) (1974) Al Stewart, The (1976) The Alan Parsons Project, Tales of Mystery and Imagination (1976) The Alan Parsons Project, Eye in the Sky (1982) Alan Parsons, (2007)

ESSENTIAL PARSONS

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