Richard Reminisces and Talks Tech

[David]

Originally Posted by michelej1

My mixing style was different. A lot of people in a live situation would just mix and hold—just get it under control, and then leave it. For me, every song was different. I was a dynamic mixer—but not a proper one.

This alone makes Dashut a one in a million sound man. Oh, how I wish this were the rule rather than the rare exception. Today's style is to set the inputs where you want on the two or three songs the band soundchecks, & then keep them there throughout the entire two-hour performance, regardless of what a hapless songwriter may have composed or intended.

Plus, I remember in the old days actually hearing what Richard is describing of the way he used to drive up a kick or a guitar solo, depending totally on his emotional or gut instinct. You actually used to hear that in Fleetwood Mac concerts. I was just a kid -- I used to think it was the band itself playing that way. It was exciting! It doesn't translate to video tape much, because everything's equalized there, but if you watch something like "Sisters of the Moon" on the 1979 video, the guitar would have been driven up when the giant stage lights flash & everything climaxed. You would have felt your insides shake.

I think a lot of the problems that Dashut describes in today's recording environment actually affected the band during the "Say You Will" project. Some of the faults Dashut mentions are right there on "Say You Will," I think.

[mylittledemon]

Very interesting article. I always liked Dashut from what I saw in interviews. He seemed like a really cool guy. I wonder why Linds and crew dont work with him anymore?

[Peestie]

I thought this was fascinating! I love reading all this sort of stuff, especially since it's something I'd like to get more into as either a serious hobby or a real profession. Richard seems like a nice guy and I wish they'd work with him again because I think he really did add something to the sound.

[michelej1]

Originally Posted by mylittledemon

Very interesting article. I always liked Dashut from what I saw in interviews. He seemed like a really cool guy. I wonder why Linds and crew dont work with him anymore?

I wonder too. I feared there had been a breach of some kind and so when Lindsey was in Vegas and Richard showed up both nights (Steve Ross was there one night as well), that made me really happy.

If Lindsey collaborates with a name producer on the next album and it boosts his exposure, that's fine. But I'd be happy if he just worked with the old cronies again, Richard, Keith, Ken, someone with the proven track record, who's trusted and can give him that objective third ear.

Michele

[louielouie2000]

I too wish FM would work with Richard and Ken again. I'm almost certain they don't work with the boys any longer because Lindsey wanted to take the reigns on the band's sound. Ever since the recording of Tusk, Lindsey has wanted less to do with the group dynamic, and more to do with crafting his individual sound and stamp within the band. I don't think he wants any filters between himself and his art. This isn't just his perfectionism, I think it also has to do with recognition. That's my take on it anyway.

[danax6]

Originally Posted by louielouie2000

I too wish FM would work with Richard and Ken again. I'm almost certain they don't work with the boys any longer because Lindsey wanted to take the reigns on the band's sound. Ever since the recording of Tusk, Lindsey has wanted less to do with the group dynamic, and more to do with crafting his individual sound and stamp within the band. I don't think he wants any filters between himself and his art.

Hm, but if Lindsey was so hellbent on creating his own sound, why did he ask Richard to help out on his first three solo albums?

[michelej1]

Originally Posted by louielouie2000

This isn't just his perfectionism, I think it also has to do with recognition. That's my take on it anyway.

I think those other producers ever contributed to Lindsey's "feeling unseen." The band was one thing, but no matter who he worked with on his solo albums, they were seen as completely his. No one else was recognized for OOTC except him. He got all the critical praise. While the band was another story, I don't think working with the old regulars in the studio ever cramped Lindsey. He certainly never expressed feeling hampered by any of them in the least. I think they helped implement what he wanted, while also giving needed feedback. But he always had the last word.

In concert he said he always listened to Neale and would always respect his insight if Neale thought he was going a little overboard. Well, I'd like to know more about Neale doing that. I think it's a nice role to have someone play for you. Now, Richard could be just as experimental as Lindsey, so I don't think that Richard necessarily pulled him back from any precipices when they worked together, but I do think they sparked each other. I wonder if Lindsey misses that sounding board.

Michele

[jbrownsjr]

Originally Posted by David

This alone makes Dashut a one in a million sound man. Oh, how I wish this were the rule rather than the rare exception. Today's style is to set the inputs where you want on the two or three songs the band soundchecks, & then keep them there throughout the entire two-hour performance, regardless of what a hapless songwriter may have composed or intended.

Plus, I remember in the old days actually hearing what Richard is describing of the way he used to drive up a kick or a guitar solo, depending totally on his emotional or gut instinct. You actually used to hear that in Fleetwood Mac concerts. I was just a kid -- I used to think it was the band itself playing that way. It was exciting! It doesn't translate to video tape much, because everything's equalized there, but if you watch something like "Sisters of the Moon" on the 1979 video, the guitar would have been driven up when the giant stage lights flash & everything climaxed. You would have felt your insides shake.

I think a lot of the problems that Dashut describes in today's recording environment actually affected the band during the "Say You Will" project. Some of the faults Dashut mentions are right there on "Say You Will," I think.

totally agree... now it's like they're going through the motions... no intensity... no rawness... too rehearsed produced... equals.. mundane performances....