Chairman at the Board: Recording the Soundtrack of a Generation (Audiobook)

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Such a producer! I really enjoyed hearing all of this in 4 days.

However, If you're seeking valuable insights, start at the end, in the appendix. Don't expect to become a sound engineer or learn how to mix; the goal here is to share stories and experiences of artists he and we have admired for decades.

This is the kind of person who, if you worked in a studio, would be a joy to hear stories from. Wow, this guy has essentially experienced the entire 20th century! Just think of all the wisdom he could share. I really hope he creates video lessons on how to make a difference, as that’s something he doesn’t delve into in this book.
He has been fortunate enough to meet almost every artist we love, including some who have passed away. He notes that the names of the artists are prominently displayed on the covers of records and CDs, while the producer's name appears in small print at the bottom or on the back cover. This makes perfect sense because, in practice, the artist is the one who truly creates: they are the ones who compose, sing, and rehearse to leave their mark on history. Of course, the engineer and producer are essential in making everything clean and beautiful, much like a painting that captures a landscape. However, this painting is merely a fragment of time and space, and the more fantasy you add to it, the further it strays from the truth. With a mixing board, we have the opportunity to become Renoir, Rembrandt, Picasso, or Kandinsky, "painting the sound" with our favorite nuances.

Bill Schnee said: "One of the few artists I've seen who could reproduce live what they produced in the studio was Michael Jackson."

Me: In 2005 with the advent of computers, I was able to hear higher notes that Barbra Streisand cannot sing, but the studio can disguise this quite effectively. Isolating a high note and using time-stretch to listen to it on loop allowed me to notice the flaws in the producers' "paintings," and this was before the era of artificial intelligence. I loved experimenting with this in 2005.

Listening to this audio was like taking a trip back in time, filled with stories about artists who were played on the radio, and whom we eagerly awaited to hear again or changed the station in the hope of hearing them. I remember when cassette tapes and vinyl records were expensive, and with each purchase, we were often disappointed because we paid for an entire album, but only one or two songs were truly worth it. Hearing Bill Schnee reminisce about his experiences felt like a journey back in time; he was present when it all unfolded. He discusses the quirks of Julio Iglesias, who never had much success in the U.S., and shares stories from when he traveled with Michael Jackson when he was just 11 years old. He also recounts his first meeting with Whitney Houston and notes that he never had any issues with Barbra Streisand, whom he considers one of the most delightful people he has ever worked with. Conversely, he talks about artists who were bothersome and disruptive, who likely would not thrive in the music industry. He cites Jeff Porcaro, the founder of the band TOTO, as the best drummer he has ever met, capable of playing any musical genre and adapting to any studio situation. In the appendix, which I highly recommend you listen to or read first, he discusses artists who loved his recordings and asked him what made their voices sound so perfect. He realized that the secret lay in the Neumann M49 microphone, which Barbra Streisand has in her house, thanks to his recommendation.

There're lots of things, tips, names we must read, like Mic M49, so:
If you want the *.pdf get here