12/25/2023 0 Comments Roger clark vibe magazine![]() ![]() I go back to Duke Ellington with, "If it sounds good, it is good." I might bum out some audiophiles, but does it speak to the heart? Does it move people? Is it evocative? Then great, we're good. However, sometimes the demo vocal that you record into – like an Mbox with a 58 is magic. I find it common now with artists that they feel because something was recorded at home or on an iPhone that it's not legitimate. Either we'd start from scratch, or we might use some things that I recorded by myself. Well, it was always like a file exchange. How did that factor into the new workflow of making records with other people? So, as far as writing goes, I think that's still a solitary process. It's uncomfortable to have someone be in the room watching you not hit the mark. ![]() It's really vulnerable to try to come up with ideas, because it's like you're diamond mining. There's still a level of comfort that is unparalleled with being able to write alone. Did recording in solitude still factor into that process, or was there a real shift between the earlier work and where it is now? Then you evolved to working with other engineers and producers. Oddly enough I did a lot of my first album recordings in my childhood bedroom with an Mbox. I did the classic buy: a preamp from Guitar Center, record, and return it. I recorded a lot of my first album on the Mbox. "I'm making the thing that I love." But then, after the Yamaha, I got a Mac, and I remember getting so excited. Yeah, it's possible that there's just so much nostalgia wrapped up in those early days of hearing yourself recorded back. Do you think that's the simplicity of the early days, combined with not knowing? But maybe that was the kind of stuff I was writing at the time. When I think back to the recordings that I did on the Yamaha, I don't think of them as vibey. When I think back to the Tascam 4-track, I feel a warmth and a vibe. I used that to make a lot of my recordings in college. Also, I remember there was Cubase, but Apple still hadn't come out with GarageBand and Logic. I don't think it was particularly compatible with software. Check out this fader recall." Great for showing off! The interface was all in that hardware box. It was big and heavy, and I remember being so impressed because it had motorized faders. But I got a Yamaha 16-track digital recording unit. You couldn't possibly judge me harder than I judge myself. What about you? How did you start?Īnnie and her 12 channel Opamp Labs console / But yeah, it was always a more solitary confinement. I think that I did more of that than jamming with people, in those days. But it was different in that I had played in some bands too, but suddenly I could do it all myself. There were a couple of extra steps involved. It was right at the beginning of that home studio world a prosumer thing, but before, "Oh, I've got a Mac and it has GarageBand."īack when there were a couple of extra steps involved. Yeah, as well as learn how to arrange, I think. So you basically used the recorder as an avenue to learn and practice different kinds of music? Instead of going to whatever party at whatever dirtbag's house and smoke weed, I was in my room with this recording setup, writing songs and trying to sing along to practice Billie Holiday riffs. My friends in high school would call me "Missing In Action". That was when you had these massive A-to-D converters, and everything was weird and outboard. My stepdad talked to my uncle and they helped me build a PC-based recording system in my bedroom – I was 15. My uncle was an amazing guitar player and had a science/engineer brain. We were talking about it the other day, when we were chasing that sound. My recording journey started in seventh or eighth grade with a Tascam cassette 4-track. Tell us about how you got into recording music and your recording journey. We've joked about the creative mind-meld we've developed from spending so much time working together, so it seemed like a natural fit for me to interview her for Tape Op. The two of us ended up forging a great producer/engineer rapport and have been working on numerous recording projects since then – mostly at her home studio in Los Angeles. I was lucky to meet Annie last year while engineering Sleater-Kinney's upcoming album, The Center Won't Hold, while Clark produced. Her left-of-center approach to songcraft, joined with a unique sonic aesthetic, has made her a reckoning figure in contemporary music. Vincent and recently wrapping up production on a record for Sleater-Kinney,Annie Clark is much more than a modern-day guitar hero. From the early days of touring with indie luminaries The Polyphonic Spree and Sufjan Stevens, to releasing six albums as St. ![]()
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