 |
|
|
|
|
|
Christopher Fudurich’s career began to take off as an assistant engineer and programmer for songwriter David Baerwald. His involvement with albums by Susanna Hoffs and Sophie B. Hawkins led to gigs with producers Jim Scott and David Botrill, and soon he was the man behind the board for albums by VAST, Matthew Sweet and Nada Surf. Now, in addition to moving into production for high-profile bands such as Simple Minds, Fudurich has also branched out further by providing management services for up-and-coming Southern California artists Fielding and The Outline. Visit Christopher Fudurich online at www.fudurich.net.
CHRIS FUDURICH: I have a general technique I follow for certain genres, but
experimentation and randomness are always an important part of the sound of
the particular project I am working on. Even if the end result is going to end
up being normal, I try to put some interesting spin on the sounds no matter
what the situation. CHRIS: It depends. I am more of a fan of using the right mic and the right
pre for the job, and (then) positioning the mic to get the right sound. Depending
on the project, I will (go from using) some slight compression all the way to
destroying it. And again, it depends on the sound I’m tracking and where
I feel it is going to end up. If I do eq before hitting tape or hard disk, it
is very broad. Nothing surgically cut. A little more high-shelf or low roll-off.
I try to always keep as little in the audio chain as possible. Impedance never
really matches as you put more crap in the signal path. BLUE: What do you look for when choosing a microphone? CHRIS: Well, a lot of it is experimenting and hearing what sounds feel best on what mic. I usually don’t purchase a mic until I’ve used it on something and really loved it. The obvious answer to this is…I look for it to sound good. It has to be shiny and look like I could pound a nail into a piece of wood with it! (Kidding.)
CHRIS: Every time! No, seriously…recently a band I was working with had
a song that needed something (where) recording just in the room would not work.
We all decided to put the singer on the street corner of one of the busiest
intersections in Los Angeles on an extremely cold day (for L.A., that is), jam
a mic in his face, a stereo pair a few feet back, and a d.i. off the guitar.
It worked...captured the perfect sound for the song. CHRIS: I worked with a band once and the guitar player wanted to play out of
several amps at once, all with a tape delay at the front end of it. Sounded
like it could be cool, but... BLUE: How about an instance where a crazy idea was tried and the result ended
up really great but totally different than you expected? CHRIS: Oh, gosh. Every experience in the studio is different and memorable,
so I can’t say one supercedes the other. All the good times and all the
bad times for each project leave a memory. I’ll just say that it seems
one of the most important things is making sure there’s a pot of coffee
always on.
|
|
|
|
|
|
|
||||||
|
© 2008 Vintage Microphones (a Galaris LLC company). All rights reserved. Compare Pro Audio Prices! |
||||||
