Geoff Emerick

I went to a reading and Q&A session with Geoff Emerick, one of the most influential recording engineers in the 20th Century at Legacy Studios on April 10th. The innovative techniques he pioneered while recording the Beatles albums Revolver, Sgt. Pepper’s Lonely Heart Club Band, and Abbey Road revolutionized recording techniques in the 1960s and beyond. Emerick pushed the boundaries of what was possible using only 4 tracks, an echo chamber, and multiple tape machines.

One of the more intriguing parts of the Q&A session occurred when Emerick was asked about digital recording and modern technology. He unabashedly wrote off digital recording technology, calling it “the recording of numbers” and that recording numbers was “like recording garbage”.

Although I do not agree with his blatant disregard for digital technology, I can see how it may be too late in his life to adopt a new way of recording. I found it interesting that a man who made his name by pushing the limits of what could or couldn’t be done was so quick to disregard the potential of new technologies.

The one piece of wisdom that Emerick imparted that I found particularly salient was his proclamation that “a good recording is only possible if it originates on the studio floor.” This means that no matter what technology is invented, manipulated, controlled, or abused to make a recording, it is most important that the performance to begin with is inspired. This seems like a simple and obvious principle in theory, yet with so many options allowed by modern technology, performers, engineers, and producers are all too often led astray from the importance of an organic original idea to begin with. Perhaps Emerick’s ability to think outside the box and create evocative recordings by the means of the crude instruments of his day was his blessing. He was not able to click a mouse to haphazardly try any conceivable new sound. Instead, he had to first envision a sound he wanted, then literally invent a technical way to do it manually.

I am not proposing that we take a reactionary approach to technology, I believe we should embrace and innovate with as many new technologies as possible. I only wish to emphasize Emerick’s notion that a good recording can only come from an inspired idea or performance to begin with. Technology may enhance, augment, or improve upon something, but independent of an original design or intention, recording technology only goes so far.

Klaus Dinger, Rest In Peace

I was mixing a Hiss Golden Messenger song today before I heard the news that Klaus Dinger passed away. The song features the signature Dinger beat (as many of the Hiss Golden Messenger songs do). For the recording of this new song I recall MC and I asking the drummer Terry knew "the Dinger" (the same question we ask to any new drummer we play with) and sitting him down to some Neu! and Michael Rother to introduce him to the perplexingly simple drum style.

I'm sad that this influential character is no longer with us.

Klaus Dinger (white clad on the right) is forever immortalized for his ingenious contribution to music, the "Neu!" beat, which he pioneered in Kraftwerk, stretched out endlessly in Neu!, and also ruled in La Dusseldorf. As Brian Eno said "There were three great beats in the 70s. Fela Kuti's Afrobeat, James Brown's funk, and Klaus Dinger's Neu! beat."

Klaus- may you always wear the big white overalls in the sky.