feature inside track What’s the best way to make a classic rock album? For producer Eric Inside Track Valentine and guitarist Slash, there was only Secrets Of The Mix Engineers: one answer: use classic recording techniques and Eric Valentine vintage gear. Paul Tingen hen I first met Slash to talk about his solo album,” recalls “W Eric Valentine, “I immediately told him that the only way I wanted to do it was to approach it like a classic rock record: get great musicians, rehearse the songs properly, and record them on tape machines. There’s one particular vintage tape machine that I wanted to use for drums and bass, to get that classic ’60s rock sound, and I then wanted to use a more modern tape machine that can punch in and out for overdubs. My idea was to make it really simple, with a great drum sound and one guitar in one speaker and another guitar in the other speaker, so you can really hear performances. I didn’t want to hear just a wall of guitar sounds, I wanted to be able to hear Slash playing guitar. He seemed really excited about that.” Saul ‘Slash’ Hudson was excited enough to entrust Valentine with the engineering, mixing and production of his first genuine solo album. Simply named Slash, it hit same time being thoroughly modern. With listening to analogue. To my ears, digital number three in the US charts and made the Scully and Studer tape machines, an EMI stuff has an uncomfortable, buzzy high end top spot in many other nations. It’s easy to and a custom desk, an enormous array of that I find very difficult to listen to or work understand why. Not only does Slash feature valve, ribbon, and other microphones, and with. Digital has the remarkable ability to a number of high-profile singers, amongst all manner of vintage and funky and obscure sound dull and harsh at the same time, them Ozzy Osbourne, Lemmy, Iggy Pop and, outboard, Eric Valentine’s Barefoot Studios is and I have to admit that HD doesn’t sound er, Fergie and Maroon 5’s Adam Levine, but clearly the domain of someone in love with dramatically different to me. Of course, my it also boasts four of the five members of analogue recording. formative years of getting into music and the most successful incarnation of Guns N’ “Modern, digitally recorded records are recording were during the analogue days, Roses. The music itself seriously rocks out, an abusive sonic experience,” says Valentine so I’m aware that I’m romantically attached with much full-on guitar work decorating cheerfully. “The whole advent of digital to that sound and way of doing things. an impressive number of good songs — recording has affected many aspects of But there’s also real truth in the fact that including the lead single, ‘By The Sword’. the music industry and of contemporary modern, digital records just don’t have the The most immediately striking aspect of recording, mostly in an unfavourable way. same sonic effect as analogue records. When Slash is its in-your-face sound, which indeed It has contributed to the overall decline I was growing up and my favourite bands sounds like it’s harking back to the golden of the recording industry, in part because had a new record out, I’d get it, put it on my days of classic rock & roll, while at the listening to digital is less satisfying than turntable, and I’d listen to it probably 10 42 www.soundonsound.com • july 2010 Eric Valentine in the control room at his Barefoot Studios, at the custom‑built mixing desk that was under construction during the recording of the Slash album. Photos courtesy of Eric Valentine times in a row. They were great-sounding a variety of genres, including urban (Paris), records just with a computer, without classic rock records, and I’d listen to them ska-punk (Smash Mouth), post-grunge (Third using a tape recorder, but it doesn’t really over and over. I simply can’t do that with Eye Blind, Lostprophets), heavy guitar (Joe work for me. It’s just too disorientating. modern records. They’re just way too Satriani), pop (Maroon 5) and punk-pop I can’t do it. I just went through another fatiguing to listen to for a long time.” (Good Charlotte). project that I started doing on a computer, “I suppose I have some pretty extreme and halfway through I had to get the tape Extreme Views views on analogue versus digital recording,” machines going. I now record in different Despite his attachment to the old ways, states Valentine, and it turns out that his ways. Sometimes I will start a project in Pro Valentine is only 41. He grew up in the Bay enthusiasm for analogue isn’t only to do Tools and use the benefit of digital editing Area and got into recording as a young with sound quality. He also sings the praises to comp performances, and after organising teenager in the early ’80s, initially doing of the analogue way of working. “I do make everything in the computer I’ll transfer the sound-on-sound recording with “two records using a computer — I started using project to a tape machine and mix from compact cassette recorders and a little Logic and then switched to Pro Tools in there. I did that with the Lostprophets Radio Shack mixer”, then using a four-track 1997, with the advent of Beat Detective — record. It seems an appropriate way of Tascam Portastudio. As a drummer, he was but it’s a completely different process that working for rock-band projects. For more part of the hard rock band T-Ride, and as leads to completely different results. I have pop-style projects, where potentially a lot an engineer and producer he has worked in been trying to figure out ways of finishing of arrangement edits are made close to july 2010 • www.soundonsound.com 43 feature inside track ERIC VALENTINE Slash (left), bassist Chris Chaney (front) and drummer Josh Freese (back) lay down a take in the large live room at Barefoot, under the watchful eye of Eric Valentine (right). finishing, I capture the sound on analogue into disrepair when Valentine bought it, and on the record. Scheduling was incredibly first and then transfer it to a computer. required major renovation. complicated, because of variations in I ended up using that approach for the his schedule and in that of the various All‑American Rejects single, ‘Gives You Hell’. Slash & Burn singers, so me having my own facility was “Making records with tape machines “Slash and I met through some mutual a huge asset. I got involved in the project has always felt more like an actual craft to acquaintances. I’d never met him, but I’d when most of the demos were already me. I’m self‑taught, and learned my craft heard all the infamous stories about him done. Everyone involved really knew what in the studio that I set up during my T-Ride from the past, so for our first meeting they were doing, so there wasn’t much days: it was called HOS [an acronym for I wasn’t sure whether there would be pre-production necessary. Slash is an Hunk Of Shit], and by the ’90s I had been this train wreck in a top hat careening into amazing songwriter and arranger, and he in six locations around the Bay Area. I had the restaurant. I just didn’t know what to had recorded instrumental demo versions of a Fostex B16 at one stage, and a Neve expect. Instead he was incredibly composed, all his songs at Chris Flores’ studio. He sent 8038 desk with 1081 EQs. The latter took very focused and very easy to talk to. He them to the singers, and they then wrote up too much space and was not practical knew this record was going to be eclectic, their vocal lines and lyrics and recorded for mixing, so I switched to a Neve 8128 with different singers on each song, and these to the MP3 of the song in question. In in 1997. In 2000, I bought Crystal Studios I think he was looking for someone who a handful of cases, the singer went to Chris’s here in Los Angeles, which I turned into could approach each song in a more studio and they worked on the demo vocals Barefoot Recording, the main reason being individualised way and could accommodate there. Slash intentionally wanted to record that I wanted a large tracking room. I’ve different stylistic approaches. He also said the demos really quickly and roughly, using had several desks here, among them a Neve that he’d always made records with tape drum machines and so on, to avoid getting 88R, and since 2006 I’ve been designing machines, and that the computer thing of too attached to the demo versions. and building my own custom console, which playing in the studio and later finding that “Of course, Slash’s guitars sounded good is finally done.” his parts had been moved or changed, or on these demos nonetheless, and we used Crystal Industries Recording Studio otherwise edited, was not comfortable for some of the original keyboard stuff Chris was a legendary place where artists such him. So the approach I suggested was really Flores had done for a ‘radio’ version of as Barbra Streisand, Jimi Hendrix, Stevie a lot more what he is used to.