 |
|
|
|
|
|
Blue: In general terms, does your overall approach to miking and
recording change from genre to genre, and even sometimes from artist to artist? Billy Bush: Generally speaking, there really isn't a default that I use when miking. If I'm in a situation where I'm in the same room with the same artist, I might use something that we had used before as a starting point, but I find that approaching it that way doesn't work too often. I try to get to know the mics, the room, the sound of whatever I'm recording and then figure out what approach to take. Blue: Do you track with EQ and compression? Describe your audio chain. Billy: I'm a big believer in getting the sound right from the beginning and
will use whatever means necessary to get there. I'll usually record with compression
if I feel it's necessary and will use mics and placement to accomplish the EQ.
I'll hi or low pass or EQ if required when tracking, but will leave radical
EQ for the mix stage. Again, it all depends on what we're going for at that
point. I might use multiple compressors or EQ's, print FX, distort it or leave
it alone. Billy: Microphones are like paintbrushes – you can't have too many. I
never saw a microphone that I didn't like! I look for microphones that capture
dynamics or that sound as close to the source as possible, or that look cool
or sound absolutely horrible. You can find a use for any mic and sometimes the
worst one is just what you need! Blue: How about an instance in the studio where an unconventional idea was
suggested, all the technical pieces fell into place, it seemed like the right
idea at the right time, and it still bombed miserably? Blue: How about an instance where a crazy idea was tried and the result ended up really great but totally different than you expected? Billy: All the time as well. Most of the bizarre sounds on the Garbage albums
come from pure experimentation. Often someone will have an idea for a sound
in their head and we'll try to figure out the best way to achieve it. Along
the way we'll stumble upon something completely different that works. Those
things are usually the best, too, the completely spontaneous and random ones
you find along the way. Billy: Every experience in the studio is different and memorable. As engineers and producers, we are blessed to be part of the creation of music and that process is something very special. Even though I've been a part of three Garbage albums, each time around is a completely different experience, let alone how different it is to work with other artists. A big part of our job is to figure out the ever-changing playing field in order to know how to help facilitate the artists' vision, and that can and will be different from day-to-day. Sometimes you have to be an integral part of the process and sometimes you have to know when to step back and let the process dictate your role. Every session is a new and different opportunity to learn. -------- Billy Bush has tons of engineering credits to his name, from Korn and Limp
Bizkit to Fun Lovin’ Criminals and a host of various compilation and soundtrack
projects. However, for years now his main gig has been as the go-to guy –
both in the studio and on the road – for cutting-edge electro-poppers
Garbage. Billy’s grasp of technology and how it can enable the creative
process has been instrumental in the progress of the band (see megahits “I
Think I’m Paranoid,” “Special” and “Push It”),
which is led by uber-producer/drummer Butch Vig (Nirvana, Smashing Pumpkins)
and fronted by goth-pop icon Shirley Manson.
|
|
|
|
|
|
|
||||||
|
© 2008 Vintage Microphones (a Galaris LLC company). All rights reserved. Compare Pro Audio Prices! |
||||||
