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  1. #121
    Good Enough T.B.'s Avatar
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    Quote Originally Posted by japeape View Post
    I always felt like Rubin was more a fan/a guy with an ear for talent, more than
    a Producer.

    Somehow, his musical savvy, as in pinpointing hip bands, translated to a guy who
    gets to make records.

    I remember Tony Iommi said, he'd just show up & say: You should make it sound
    like Master of Reality....You should use all that old gear.

    Then he'd come by, take a nap.

    Then he'd walk in, listen & say: I'm not really feeling the vibe...
    That's pretty much been the case with Rubin for a long time. I think he was much more hands on with who he produced through the early 90's but my understanding is the last 15-20 years, he more or less has his recording engineer do most of the day to day heavy lifting and he shows up every once in a while and offers often vague suggestions, often just general stuff like "the solo doesn't work" or "that needs a bridge" and waddles off to let the band figure it out. Which works for some bands that come into a studio with a batch of solid songs and their shit together, but not so well for a band who puts songs together from scratch in the studio like U2.

    I like Rubin's trademark dry sound often with guitars panned hard on left and right sides but I hate it's coupled with a really compressed, thin sound especially for drums and bass and usually brickwalled. He produces good earbud music I guess.

  2. #122
    Sinner's Swing!
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    He started Def Jam in his NYU dorm room by recording a few rappers. Rap in 1982 didn't require nearly the skills to mix as any other music. Two microphones, a drum machine and maybe a Casio? Who COULDN'T do that?

    I think he had something to do with Public Enemy, but their music was created by The Bomb Squad, who also did Ice Cube's AmeriKKKa's Most Wanted. That sound (which I REALLY like) wasn't Rick Rubin.

    The rock stuff I hear out of Rick Rubin would amount to a rough mix. It's the sound of the instruments recorded in airtight booths, the levels and EQ's blended, and then...that's it. Which sounds really boring! A real producer adds some reverb, some delay, thinks of where some overdubs or other instruments discretely in the background could help, like the sitar on "Ain't Talkin' `Bout Love."

    From what I've heard, Mutt Lange would pretty much assemble Def Leppard's songs himself from their random ideas. I wondered why the harmonies on "Touch Too Much" by AC/DC sounded like Def Leppard, it's because Mutt also sang the harmonies on every record he produced. The Cars' "Hello Again?" That's also Mutt!

    People can hate Bob Rock's work with Metallica, but the guy is really detail oriented. He had James Hetfield double the rhythms on "Sad But True" with a baritone guitar, which I think is a brilliant idea. Would play notes over and over for James on "The Unforgiven" until he got the melody in tune. I LOVE that!

    Bruce Fairbarn didn't just turn the knobs, he gave Steven input on song structures and even where to do his screams on Pump. Would listen close for stray kick drum beats from Joey, or if a drum edit was a few beats off from the rest of the track. THAT'S a guy doing some work.

    Beau Hill, too. Rick Rubin...he worked for Slayer and I like the two CD's I have of his with Johnny Cash, but other than that, I don't get it.

  3. #123
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