RECORDING STUDIOS AND AES THE

het Atkins, the keynote speaker at I don't care for digital sounds You need a music man in there the 107th AES Convention in when it comes to the . Every who knows a good song when he G New York, is a living legend and sound must have its own identity, hears one and knows how to pro- a vibrant musical bridge spanning the and that comes from the instru- mote it. They put out a lot of trash 6JJ f massive changes that have affected all ment. But CDs, pretty much in my these days, but every now and aspects of music: its technology, its pro- estimation, have cleaned up the then they stumble onto a good ECORDI \G STUDIOS duction and its business. sound. I haven't listened critically one, and sometimes they do pro- Atkins came of age at a time when enough, I guess. When I record mote talented people. But has the radio was king and cowboys still made myself, I like to record to analog. emphasis shifted more toward records. Born in. Lutrell, Teno., in It's easier for me because that's money than toward music? I don't Congratulates 1924, Atkins learned to play the guitar what I grew up with. I taught fool with it enough to know. But I at age 5 from his older brother, Jim. everyone here [Nashville] how to do know you need a music man in His first professional job was at the age splice and edit. It's easier for me there somewhere. I hear that of 17, playing fiddle behind country to do that on analog. I own an [] sales are down in METALLICA singers Archie Campbell and Bill analog 24 -track machine, and it's Nashville, but I don't know if Carlise for $3 a night. He went on to very user -friendly. I can be my that's true. Maybe what they need play both as a sideman and as a fea- own engineer. I haven't worked is to get some new music going. THIRD EYE BLIND tured artist on myriad "hayride" radio with digital recording equipment, I've taken to listening to [country shows of the that were the ether- but engineers I work with do, and music classics format] WSM 650 eal homes of country music until it as long as it sounds good, that's down here, and maybe they need KENNY WAYNE SHEPHERD finally settled in Nashville, where fine. to go back to "Old 97" and records Atkins became a session player and like that. They play records dating STROKE 9 recording artist. He apprenticed him- What are your feelings from the mid -1920s on through self to RCA Records chief Steve Shoto. about how the industry is the 1960s, and it's interesting to who would eventually hand over the shifting toward digital hear those old records. Some of PRIMUS reins of the label to him in 1957. downloads, about how they them sound great. It was amazing In his years at RCA, Atkins pro- what they could do back then with duced hundreds of records with artists one or two microphones. GLISTER including the Everly Brothers, Waylon Jennings, , Dottie West, How do you feel about the ANDY DICK & Jerry Reed, , Floyd trend toward multiple pro- a *TCHES OF THE CENTURY Cramer; Don and Perry Como. ducers for records? Does in the process pioneering the pop - having eight or nine produc- RITA tinged ambience that came to be known ers for a single record by an as "The Nashville Sound, " and all the artist affect the coherency while continuing to be a force as a of the artist's vision? BOB ROCK musician. His influence continues to I haven't wally been exposed to be felt today via his periodic and cele- that much. When the Outlaw Chet brated duets recordings, such as those thing came around country [in the RANDY STAUB with Jerry Reed, Les Paul, Mark Atkins, mid- 1970s], with Waylon [fen - Knopfler and, most recently, Tommy keynote nings] and Willie [Nelson], I pro- STEPHAN JENKINS Emmanuel, through his guitar designs speaker duced some of those sides. That for Gretsch and Gibson; and through album had at least five or six pro- at the the fingers and hearts of millions of ducers, so that can work. But that JASON CARMER who continue to cherish his 107th AES was a collection of tunes and distinctive finger -picking style. Like the Convention artists. It wasn't a collaborative guitar that Gretsch maned for hint, effort. You gotta have a boss in JERRY HARRISON Atkins is truly a Con uhy Gentleman. there somewhere, especially on the mix. Otherwise, it would just be a roar and no one would agree KARL DERFLER By Dan Daley with each other. CLAYPOOL Considering all the amazing LES What do you think about the musicians you've worked development of electric gui- affect both the sound and with over the course of your TOBY WRIGHT tar and amplifier technolo- consumer's perspectives on long career, what are the gy over the last 50 years, prerecorded music? Will moments that stand out? and about the tremendous changes in the media affect And was it more fun to play STEVE LILLYWHITE diversity of styles that have how people feel about the than to produce? grown up around it? music? The Iaverl) Brothers and Al JOHN SIKET It was inevitable the way it has II aartists] can faithfully reproduce Hirt, for two. And I recall all the developed over the years. When I what's on the record, then this could pop records we did in Nashville, was a boy, most families grew up be a complete disaster for the like Ann- Margret, Rosemary Cloo- EDDIE BISSICCIO with a guitar in the house. We did. record companies. But if [record ney, Andy Williams. Doing pop We all played, and I was greatly companies] can, they'll find a way artists here was unusual. And influenced by my brother and to make money off of downloads. working with Les Paul. It's always VINNIE WOJN people like Les Paul. When ampli- They'll have to; I hear of lots of amazing around him. He's a crazy fiers came along, it changed the artists who aren't with record com- son of a bitch. I love him. When whole scene for guitarists because, panies at all putting out record- we'd play together, he'd reach CORRADO all of a sudden, you could play sin- ings on the Internet, and some of over and turn down the volume gle lines and solos with other them, like Kenny Rogers, sell mil- on my amplifier. He's always DEVON REITFIELD instruments and be heard. I think lions. The marketplace will always doing something crazy. We talk When it comes to burning the level to which the guitar has be changing. It has to. Those every week or so. We've both been your custom CDS at home. progressed is wonderful. Without friendly folks at the record labels sick, and we kind of console each Mitsui Digital Audio it, I think I would be looking at will probably figure out some- other. When I produced records, I on your continued success CD for Consumers gives the south end of a mule. You thing. [Laughs] preferred not to play on them. I and prosperity! Thank you you the most accurate know, though, the guitar is still a preferred to be in the control recordings your money very romantic instrument -it's In terms of the business, room where I could keep an eye for becoming a part of our shaped like a woman with a small you came of age in a very on everything. But some artists can buy. After all... the illustrious history and our difference is innovation. waist. I hope that never changes. hands -on era: You ran a insisted that I play on their label, produced records and records, like Jim Reeves. I played magnificent future. There's no doubt that the developed artists, as well on his first big hit, "Four Walls." I trend toward digital re- as your own career as an told him I had to be in the control MITSUI cording and music creation artist. Your counterparts room to keep him on pitch. That's PLANT RECORDING STUDID5 advanced media, inc. will continue, even though today are more likely to a jokeJim Reeves was perfection 2200 BRIDGEWAY there's strong support for have MBAs and back- in everything he did, especially SAUSALITO CA 94965 2500 Westchester Avenue analog methods. How do grounds in accounting and singing. Producing, playing the Purchase, New York 10577 liked them both, and (41 5) 332-6100 914- 253 -0777 Fax: 914 -253 -6623 you feel about how digital finance. How has that af- guitar -I wie ati. mitsuicdr -cons sounds? fected the music? still do. FAX (41 5) 332-5738

58 BILLBOARD SPOTLIGHT BILLBOARD SEPTEMBER 25, 1999 www.americanradiohistory.com