Questions For Tony Visconti

Discussion in 'Music Corner' started by rhavers, Feb 13, 2007.

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  1. Tony Visconti

    Tony Visconti New Member

    Location:
    New York
    "whats YOUR feeling about downloading of music?.. "

    It's stealing, if you mean Limewire-type downloading. Even though a group makes their living playing live (and that's debatable), what about the fees and expenses of everyone else involved in the recording -- the engineer, the studio, the producer, the instrument techies...et al? This seems to be the end of an industry that started about 100 years ago. And don't get me started about all the care we put in our expensive analogue and hi-definition digital recordings that get converted to MP3s! This makes CDs attractive again.
     
  2. Stateless

    Stateless New Member

    Location:
    USA
    Hey Tony,

    I know you took the iconic cover photo of Marc Bolan on THE SLIDER. Any reason why it was credited to Ringo & not you?

    Also, are you working with Bowie on his next record?

    Thanks!
     
  3. motorcitydave

    motorcitydave Enlightened Rogue In Memoriam

    Location:
    Las Vegas, NV, USA
    Of course, tone comes from the player.

    Thanks for the info...every band can learn from your techniques. Which have stood the test of time!
     
  4. Mal

    Mal Phorum Physicist

    Thanks :righton:

    I hear quite a bit of DI sound and distortion :agree:. As you say though, without Marc none of the studio techniques would mean a damn. He's very underated as a guitarist - keeps it simple but every note is perfect in both tone and feel.

    Thanks again - great to have you here :wave:
     
  5. Tony Visconti

    Tony Visconti New Member

    Location:
    New York
    The story is in my book. Basically, on the set of the picnic scene of Born To Boogie, I fired off three rolls of film of Marc posing the way he did on the front and back of the The Slider on Marc's Nikon F. We were bored, Ringo was setting up his three camera shoot all day for filming. A week later I saw the contact prints and Marc asked me to initial them. About three months later The Slider came out with my photos used for the cover and Ringo was credited (he never took any photos that day). When I confronted Marc he said, "Sorry, I forgot."

    I just saw you're "sneak" question at the bottom. I don't know.
     
  6. DjBryan

    DjBryan New Member

    Location:
    USA
    Tony who was the easiest to work with, and liked your ideas?
     
  7. Radiotron

    Radiotron Tube Designer

    Location:
    Montreal, Canada
    Hi Tony, great to have you here. Thanks for all your answers.

    Just for the record, to see "Junior Member" under your name is kinda strange. :)
     
  8. Mike Ga

    Mike Ga Formerly meredrums and MikeG

    Location:
    Wylie, Tx.
    Wholeheartedly agree. Music is not free; Greedy Producer? Greedy Record Company? Greedy Artist? Pay my bills and I'll play all day. There's a romantic notion about the whole thing, but in the end, a body has to be fed.
    Outside of that, it cheapens music as an experience.

    [/QUOTE]It's stealing, if you mean Limewire-type downloading. Even though a group makes their living playing live (and that's debatable), what about the fees and expenses of everyone else involved in the recording -- the engineer, the studio, the producer, the instrument techies...et al? This seems to be the end of an industry that started about 100 years ago. And don't get me started about all the care we put in our expensive analogue and hi-definition digital recordings that get converted to MP3s! This makes CDs attractive again.[/QUOTE]

     
  9. conniefrancis

    conniefrancis New Member

    Location:
    Brookfield, OH
    Do they still have that great pizza?
     
  10. vonwegen

    vonwegen Forum Resident

    Some technical recording questions

    Tony, I have some recording questions: do you record each channel in ProTools in mono, or do you sometimes record tracks in stereo to capture different tonal aspects, like for example to include stereo reverb? I use Adobe Audition rather than ProTools, and I was wondering if the pros also record individual tracks in stereo.

    Also, do you sometimes use off-axis mic placements to get a 'darker' sound. In my own experience as a musician during my time in Nashville, I noticed a great reluctance from studio engineers there to deviate from 'standard' mic placement, especially with acoustic guitar.

    As you may have seen here, there are a lot of folks who find much to be desired in current CD mastering techniques. Have you ever been less than thrilled with the mastering of any of your productions?

    One last question--do you currently record artists with background concept of someday being able to go back and do a surround mix? (for example, tracking extra layers that may not fit or work so well in a stereo CD mix)
     
  11. Stateless

    Stateless New Member

    Location:
    USA
    Thanks for sharing that Tony. :thumbsup:
     
  12. johnny 99

    johnny 99 Down On Main Street

    Location:
    Toronto
    Hat's off for the work done on "Heathen" and "Reality" (both in my opinion 2 of Bowie's best albums) Brilliant!
     
  13. jl151080

    jl151080 Senior Member

    Location:
    Bristol, UK
    :agree:

    Also, many thanks for the work on the 5.1 Young Americans mix. I LOVE hearing this in 5.1! Brilliant.

    Hopefully the powers that be will approve some more Bowie albums for the 5.1 treatment in the future.
     
  14. goodyear61

    goodyear61 Member

    Location:
    Copenhagen,Denmark
    Hi Tony Visconti
    Ive just bought "Young Americans" 5.1, and just wanted to tell you that the mix is absolutely wonderful :), thank you. However, At 1.10 in the title track theres some kind of weird fade out for a second or two, so I wondered why that is?
    PS: Thanks for producing some of alltime favorite albums
     
  15. Simon A

    Simon A Arrr!

    Hi,

    I'm joining in a bit late, but I just had to say thank you for the great work you have done over the years!

    I really enjoy the album you're recently made with Morrissey and I really dig "On The Streets I Ran" and "Good Looking Man About Town". I also recently played my early pressing of Bowie's "The Man Who Sold The World" and I must say that my jaw hit the floor when I heard how rich and deep your bass sounds on that one. Do you remember how you went about recording it in order to get that sound?

    Last question:

    How was working with Les Rita Mitsouko? I just love the albums you made with them (I recently found them on vinyl :righton: )!

    Thank you sharing all this with us and welcome to the Forum! :wave:
     
  16. Studio_Two

    Studio_Two Forum Resident

    I just caught Tony promoting his book on "Later With Jools Holland" (UK BBC2). Not sure if this will be repeated, but well worth looking out for.

    Sorry I didn't catch it in time to let everyone know.

    The book is fabulous, BTW.
     
  17. Scotian

    Scotian Amnesia Hazed

    Hi Tony. I'm pretty sure you helped produce a few tracks on the Manic Street Preachers "Lifeblood" album but didn't see them listed on your discography. Any comments about working with them? I've been a fan of both MSP & Bowie for quite a few years now. I'm quite enjoying this thread. Thanks!
     
  18. Claudio Dirani

    Claudio Dirani A Fly On Apple's Wall

    Location:
    São Paulo, Brazil
    Hi Tony,
    Thanks for taking the time answering questions about your work.
    Actually, I'd like to hear from you about the arrangements you did for the Band On The Run album. What comes to mind when you look back recording with Wings back in 1973? I wanted to hear an interesting story - I know there're probably several - about the time you spent with Paul, Linda and Denny.
    Anything remarkable you haven't mentioned in past interviews on Band On The Run, Jet, 1985, No Words and Picasso's Last Words?

    At last but not least, anything worth to mention on the Only Love Remains recording (Press To Play)?

    Many thanks for your attention.
     
  19. Electric Warrior

    Electric Warrior Senior Member

    Location:
    Germany
    he REALLY was into guitars, wasn't he?
    seems like he had all the toys money could buy back then. I have seen pictures of him with fender, marshall, orange, hh, vamp, vox and sound city amps, a 59 les paul standard, a 50's single cut tv yellow les paul special, a zemaitis, a veleno, vintage strats, several telecasters, a jaguar, a flying v and a 50ies les paul custom with p90s. There's a dallas rangemaster in many warrior/slider era pictures. There was the fuzz face and colorsound wah you mentioned, some unidentified fuzz box that might have been a hornby skewes zonk machine or shatterbox, a colorsound overdriver and an mxr blue box. what a collection!

    here's a picture of him with the rangemaster (I love that box! Built one myself. Instant 60's/70's blues/rock)
    [​IMG]

    jorgen angel has lots of great photos on his site btw. really worth checking out.
     
  20. Electric Warrior

    Electric Warrior Senior Member

    Location:
    Germany
    Telegram Sam? He sells only good stuff!
     
  21. Electric Warrior

    Electric Warrior Senior Member

    Location:
    Germany
    another picture:

    [​IMG]

    notice the wem copicat tape echo in the background
     
  22. vince

    vince Stan Ricker's son-in-law

    It's gotta be YOU TUBE'd, right?
     
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