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663,954 Views ⢠Aug 27, 2023 ⢠Click to toggle off description
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Bill Schnee is known as the engineer's engineer. He's won multiple Grammy and Emmy awards and has over 125 gold and platinum records to his name. In this video, I interviewed Bill to speak about his recording process and approach to music. We discuss music production, as well as The Beach Boys, and his work on Steely Dan's Aja and Gaucho albums.
00:00 Who is Bill Schnee?
01:03 How Bill first started producing
03:58 Bill's philosophy for recording
05:46 The Beach Boys
07:25 Technology in the early days
10:02 Changes in music technology
12:00 Aja
14:12 Gaucho
15:39 The importance of drums
16:53 Technology and artistry
19:14 Advice for young people
19:45 The music industry today
21:38 The future of musi
Views : 663,954
Genre: Education
Date of upload: Aug 27, 2023 ^^
Rating : 4.948 (171/12,858 LTDR)
RYD date created : 2024-05-17T20:23:32.357563Z
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YouTube Comments - 1,033 Comments
Top Comments of this video!! :3
The irony of the music industry is that at the age of 58, I finally think I have something worthwhile to say. Iâve also developed enough skill to play and produce it. The problem is, no one wants to hear music from an old guy. When I was young and enthusiastic, I didnât have the skills or experience to write a decent song đ¤ˇđťââď¸
966 |
Roger Nichols was "Steely Dan's engineer". This man, Bill Schnee, was one of three other engineers who helped record the tracks on "Aja". I am not at all minimizing Bill's contributions to the beautiful sound of the album- only trying to give credit where due.
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He made a great point about trying not to let the tech get in the way of the music. It's a real problem. I'll guarantee you Elton and Billy Joel never had to spend all night figuring out sidechain compression settings.
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Aja and Gaucho are masterclasses in engineering and mixing.
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I love Bill's work, but this video is very disappointing. I watched the entire thing, and not once did he say what makes a recording sound good. No EQ tips, no favorite mic'ing techniques, nothing specific about making a recording sound good.
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Bill is a magical mixer. Iâll never forget my one time working with him, how quickly and intuitively he found the very essence of the song, on strange equipment to him, and just nailed a brilliant mix. I was hired to bring my barely complete second Artisan Mobile to record Whitney Houston with no audience at the Fontainebleau Hotel on Miami Beach. HmmmâŚ. As it turns out, take 4 of that session is the âI Will Always Love Youâ that sat at the top of the charts for 16 weeks. What an auspicious start that was for my second truck.
This is all etched permanently in my memory. Billâs otherworldly ability at the mixer, his clear impatience with the incomplete lighting in the truck, approaching a visibly shaking Whitney to change to a different microphone and offering her my reassurance. Such strange things are the lifeblood of remote recording and this was a bit of a high point. I remember looking down the length of my truck at, left to right - Kevin Costner, David Foster, and Bill Schnee. How do you forget that?! Kevin was her rock, her loving support in what I now know was a very difficult life. I became a fan of his work just by watching that tenderness.
Everyone knew #4 was it, but of course we did one more and laughed it off. I hope Billâs memories of that day are fond as well.
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I love how well established he is, but he doesnât present like a guy with an old brain. He has both retro and modern perspectives that expresses authentic wisdom through the eras because he has actually been paying attention and kicking ass the whole time. I am a Bill fan now
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I had the good fortune of assisting Bill back in the late 1970's at Sunset Sound. He had come in to mix an Olivia Newton-John album. In two hours he had a song completely mixed and sounding perfect. Some of the world's greatest engineers had walked through those gates but no one worked as fast with such amazing results. This interview is a must-watch for anyone working in music. He speaks the truth about the abundance of technology out there. It's the paradox of choice. Pick a handful of tools and learn them really well. Would love to hear what he's been working on.
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In an age of hundreds of takes and comps and pitch correction and quantization in an effort to get the perfect sound, Bill's ideas are so important and many modern producers should understand them.
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Bill Schnee is my boss, Steve Tyrellâs engineer.
Heâs a very kind man and has a very talented son, Oliver, who is a genius in his own right.
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Aja was one of the best engineered/mixed albums ever!
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The Dan's drum tracks from Katy to Gaucho still sound amazing and like they were recorded yesterday. They're right up there with the lead vocal. Incidentally, Bill Engineered Jeff Porcaro's one and only instructional video.
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The one name that always pops when the subject is late 70's and 80's music production is Jeff Porcaro. Amazing how respected and remembered he still is 30+ after his passing.
Great video. Didn't think I'd watch it all but the whole thing was as fast as a click. Thank you.
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Wow, great interview! I am 68 and released my first album of original songs in 2019. I would have LOVED to have someone like Bill guiding me!
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Rick Beatoâs interview with Chuck Rainey was remarkable. Supposedly Steve Gaddâs drums on Aja was an overdub, and Chuck remembered Jeff Porcaro at the kit during basic tracking for the tune!
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Aja has an epic sound. People don't engineer like Bill. Just make noise. Steely Dan's recording techniques were crazy, they were the ultimate studio session musicians, perfectionists. It would drive participating artists up the wall sometimes!
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" 48 tracks, just a little too much to handle." Master of understatement. We started working with a Neve w Flying Faders & a Studer 24 Track in 83 and it was wonderful given we were knocking out a TV commercial almost every day . . . and for bigger soundtrack and album projects it made life a lot easier, for sure. One of the key benefits was that once levels were more or less in place you could turn your attention to the more subtle aspects of the process - Lexicon & Plate Reverb, Eventide Harmoniser etc. etc. I still tend to see ProTools as a multi-track and follow the same process using analog rack mount stuff where it's preferable to plug-ins (and actual recording in the room, of course). Thanks for a great interview! (Big Steely Dan fan, BTW).
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I had my main computer die and when moving to the back up I realized I didn't need 304 plugins. I painfully thinned out the herd down to 3 comps, 3 eq's, and only 3 of any other plugs. There was, indeed, a withdrawal angst going on. I have swapped out a few plugins, but only after spending honest time with what was available. Trusting your ears becomes so much more productive without the illusion there is a magic plugin just waiting to be the hero of the session. I did move to an analogue MT22.
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Great interview! I like his last statement about remaining relevant, being able to still work with today's artists and being excited to see what comes next. Having a sense of adventure and not being stuck in a rut is definitely the key to continuum.
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@davidhartley94
2 months ago
Thanks for watching! If enjoyed this video, please consider subscribing! đ My classical guitar course is also available on Skillshare! đ¸ skl.sh/3T1wUCi
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