CCTV DN-44216 User Manual download pdf (Page 20)

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George LaMond: "Bad of The

Heart"

Label: Columbia

Produced by: Mark Liggett and Chris Bar -

bosa ( Ligosa

Productions)

Engineered

by: Jerry Lane, Tommy Uzzo,

Mike Lorello, Tony Papamichael, Tony Alipran-

tis, Mark Liggett,

Chris

Barbosa

Mixed by: Mark Liggett, Chris Barbosa, Tom-

Uzzo,

Jerry Lane

Recorded at:

Ligosa Sound Studios

(Cincin-

nati, OH); Mirror Image Recorders (Dix Hills,

NY);

Science

Lab,

Shake

Down Recording, Pow-

Play

Studios (New York); Libra Digital (Astor-

ia, NY)

Mastered

by: Tom Coyne, Hit Factory DMS

(New York)

SPARS Code: AAD

Comments: It all comes together on

this record:

Strong

tunes and

thumping

grooves make these tracks percolate. Lig-

gett and Barbosa neoterize the expected

dance tricks of sampling and scratching

to create a tasty and fresh performance.

LaMond shows himself to be a

serious

vo-

cal talent.

Of special interest: The creative use

out-of

-genre production

devices

creates

some nice moments, as on the glassy

acoustic rhythm guitars and acoustic gui-

tar solo on "Serenade You:' The rap in

Who Needs

Love" exemplifies

with

style

the trend in modern R

to incorporate

rap.

18 R E

December 1990

FOCUS:

MARK LIGGETT

and

CHRIS BARBOSA

Producers,

"Bad of

The Heart"

Known

as Ligosa, this production

team has produced records for Shannon, Rob-

Gibb,

and is

working

remixes for New Kids on the Block.

REP: What kind of synths

did you use?

ML: We used a lot of Roland

D50, Juno 60, JX3P;

Roland products a lot.

We have a couple of

Yamaha DX7s and a Korg Ml, but

we used those only

sparingly.

CB:

We like our Prophet

and Juno 60 a lot. And a lot of

sampling. We've got an

Akai S900.

REP:

You like the S900 better than

the 1000?

ML: No,

the

1000's

a million times better, but we've

only had our 1000

for

a cou-

ple of weeks now.

REP: What do you

use for drum machines?

ML: We have a ton of samples;

we usually just make our own stuff.

Right now,

for example,

with the New Kids album, we're

building a drum kit on the

1000

and we've MIDI'd a Roland

808 which

think

is awesome.

CB: The

808 is our blood.

ML: We finally

took the plunge and got it

MIDI'd. Believe it or not,

use the

Alesis

lot, too, the 16B.

RE P: You must have

a lot to do with the grooves on these

tunes. How do you

put

them together?

CB:

We work on them a

lot. We get the grooves

where we want them, working

with just drums. Then we add bass

next, after the drums are just right. That's

how we've always done

it.

REP: What kind of

console do you have in

the

studio?

ML: A DDA. It sounds great.

The EQ has massive bottom. To me

it's kind of a

hybrid, sonically, between

the SSL,

which is real peaky sounding, and the Neve,

which is real warm.

don't

think it's quite as peaky

as the

SSL or

quite as big as

the Neve, but I think

with the DDA you can approach either one.

R EP: Does it have automation?

ML: No. We've done

so many dance records -1

guess we're kind of like dinosaurs

in this regard, but

we always mix in pieces, and we're

always reconfiguring things

wego...

CB: We've done

that for many years. It's really easier on

a dance record to get a

certain section of

the song together, throw it onto

half -inch tape, continue on and

edit it together

later. You can concentrate on

each section.

ML:

the automation

wouldn't have made any sense

for us. We hardly ever use

it.

CB: Even when it

has been available for us at other

studios we've worked at, we

never use it.

REP: You're still mixing

to analog ...

ML: Well, we have Sound

Tools and a DAT machine

...

CB:

We have mixed

direct to Sound Tools, and

it turned out surprisingly good.

ML:

Sound

Tools is incredibly

great, but I'm

very

opinionated

about mixing: Give

me a good analog

tape machine anytime.

www.americanradiohistory.com

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