I.O.U. (album): Difference between revisions
From Allan Holdsworth Information Center
No edit summary |
|||
| Line 175: | Line 175: | ||
Having said all of this, I would like to remix the '''I.O.U.''' album because the last time I played it off the original two-inch tapes, it sounded so much better than the album. The record was mixed in two evenings. I think everything, but especially the drum sound, can benefit from a remix. Also, the tapes were stolen during that session and two of the tracks were gone by the time we mixed the album. Later, the studio owner found the guy who stole the tape and got it back. So, there are two tracks that aren’t on the original '''I.O.U.''' album that I would include. I’ll have to bake the tapes in order to do it, but I think it would be worth it. The recorded sound was just so much better than the CD and I think I can do it a lot more justice. | Having said all of this, I would like to remix the '''I.O.U.''' album because the last time I played it off the original two-inch tapes, it sounded so much better than the album. The record was mixed in two evenings. I think everything, but especially the drum sound, can benefit from a remix. Also, the tapes were stolen during that session and two of the tracks were gone by the time we mixed the album. Later, the studio owner found the guy who stole the tape and got it back. So, there are two tracks that aren’t on the original '''I.O.U.''' album that I would include. I’ll have to bake the tapes in order to do it, but I think it would be worth it. The recorded sound was just so much better than the CD and I think I can do it a lot more justice. | ||
[[A Different kind of Guitar Hero (BAM 1983)]] | |||
BAM: Tell me about the recording of the I.O.U. album. | |||
AH: The album is almost two years old now and was recorded in England at the Barge. L Literally a barge, a little boat, that floats on the water. It's a nice little studio, a 4-track. The room's very small, which tended to make the sound small. When you stick every thing in the middle, it's hard to get an ambiance sometimes. | |||
BAM: When you were recording, how conscious were you about balancing speed and dissonance with a more deliberate melodic style? | |||
AH: I usually don't consciously think about that. But it on this I.O.U. album I wanted to do something that was more musical, that wasn't sort of flash. I suppose I've gone over the top in any direction sometimes. Every body goes crazy once in a while. So I don't think I've ever played so little, in a way. It was really restrained. Because it would be relatively easy for me to just speed along. | |||
BAM: How did you get your rhythm guitar to ring and swell so majestically? | |||
AH: I used volume pedal quite a lot, because I wanted to make the guitar sound like ... well, having no piano or keyboards there, I wanted to make the guitar sound quite wide. And so I would strike the chord and push the volume pedal down so that all of the notes rung at once. Also, I started out using one amp for solos and one amp for chords. But I found I still didn't seem to be getting enough weight behind the chords so l started using two amps for chords, and I thought if I was using two amps, I might as well have a short delay between the two amps. This really made the sound quite fat. So, I think the sound you’re talking about is the use of delay, with a volume pedal. | |||
BAM: What kind of guitar were you recording with? | |||
AH: An old Strat that I had for a long time. Unfortunately, I had to sell it to come to L.A. | |||
