Engineer Richard Chappell has been at Peter Gabriel's Real World Studios for over 15 years -- and he's spent seven of them working on Gabriel's latest solo album.
Peter Gabriel fans have had to wait 10 years for a solo album proper to follow 1992's Us. Last year, their man finally obliged with a new collection of songs, Up, joking that "Old men take a little longer to get 'up'," and adding, "Starting is always easy... finishing is harder." Gabriel also noted that "Speed is not my strength: diversions are," and it should be pointed out that he has worked on several other projects in the meantime, most notably Ovo (2000), the music from his Millennium Dome show, and Long Walk Home (2002), his score for the film Rabbit-proof Fence. Nevertheless, 10 years is a long time by anyone's standards.
Up's CD booklet contains some hints of the gargantuan amount of work that went into its making, with 10 engineers and assistant engineers credited, and half a dozen recording locations across the world mentioned. The average amount of musicians credited per track is about 12 (counting bands and orchestras as one), with people doing things like 'groove treatment', 'tape scratching', 'loop manipulation,' 'Spectre programming', 'Supercollider programming', and so on. Apart from Gabriel himself, however, only one other person was there during entire period of the album's making: engineer Richard Chappell, "on whose shoulders," according to Gabriel, "this record has been built."
Chappell has worked at Real World, Gabriel's prestigious and pioneering recording complex near Bath, since joining as a 17-year-old teaboy in 1987. He's followed the usual route from teaboy to tape-op, assistant engineer and engineer, being taught by the legendary David Bottrill, who was Gabriel's regular engineer until he
I talked to Richard Chappell in the Writing Room, also nicknamed the garden shed, which is a glass and wooden building sheltered by trees and located a few hundred yards from the main Real World studio complex. "Peter made the decision for this album to get out of the production room in the main studio building and make the Writing Room his base," Chappell explained, adding that it offers privacy and the freedom to have the equipment set up as he pleases. "Whenever he walks in, his mic and his keyboards are always live so he can just sit down and play and work."
The Up album began life in the spring of 1995, when Chappell and Gabriel set off to a place called Meribel in the French Alps, where they rented a local chalet. "We achieved a lot there because there were no distractions," Chappell enthused. "We did a lot of writing, and a lot of snowboarding. It's a dream way of working, up in the mountains every day. It was very inspiring and made Peter very happy. We generally worked at night time, which was tiring, because we'd be exhausted from jumping around and running around the mountain by day."
Other than guitarist David Rhodes, who "came in at the beginning to jam along and play," only Chappell and Gabriel were present during this initial period. They worked for two months in Meribel, returned to Bath, took part in a Real World recording week, kept working in the garden shed, and in October went to Senegal for a further three months of writing. Apparently Gabriel managed to come up with more than 70 ideas during the Senegal phase. Afterw
The equipment Gabriel and Chappell were using during these sessions was brought over from Real World and included a Mackie 48-channel mixer, a 32-track Pro Tools system, a few ADATs ("for if something didn't work properly with the hard disk"), and three Macintosh 8100 computers, one with Pro Tools and Logic, one for backups and one for writing lyrics and going on the Internet.
"Peter had brought most of his normal writing setup to these places," Chappell explained. "This includes an Akai MPC3000 or MPC60 -- he likes to have a modular drum machine. His main sampler and keyboard controller has been the Kurzweil for the last 10 years, initially the 2000, then the 2500, and now the 2600. It can do a lot, and he can make interesting sounds very easily with it. He also has a Clavia Nord Lead, and lot of Korg stuff, like the Wavestation, 01/W, and more recently the Triton. He likes basic Korg sounds to play with and treat, more than he likes Roland-based stuff, even though he likes Roland pianos sometimes. He also uses an Emulator IV and the Waveframe, although the latter less and less recently.
"His setup is quite simple really, and it's more about the treatments in the moment. He'll work with a good piano sound, and then treat it with effects like Eventide or Delta Lab delays, or distortion or other pedals. He has a lot of guitar pedals to play with. We use Pro Tools plug-ins, but in general it's more a matter of putting stuff through speakers or a pedal. But it could be anything. It's not that calculated. It's whatever works."
During the Summer of 1997 the duo made another trip, this time to the Amazon, where they recorded on a friend's boat. "It was a small trip of perhaps two weeks or so," Chappell explained. "It was a private boat with a full recording studio on it, but I can't talk about it, other than to say that we worked on Logic there as well. It's just a crazy thing that we do now and then. It was a strange and bizarre trip in which we were travelling down the river working on music and looking out of the windows seeing the rainforest go by."
Back In The Real World
In the Writing Room, further writing, recording, overdubbing, and editing was undertaken with the help of a digital Sony R3 Oxford recording console which was installed in the Summer of 1997. "When we moved to the Writing Room we just had a Mackie setup here and a whole bunch of gear and a big mess of cables," recalled Chappell. "After the second Meribel trip we bought the console and installed a proper studio here, with Neil Grant Boxer 3 speakers, and currently Mackie HR824 nearfields. We have two Sony Oxfords now, one here and one in the workroom in the main studio. It has 120 faders, which is just about enough for what we do!"
After the different writing periods Gabriel had, with his 'sprawling' way of working, come up with about 130 song ideas and sketches. A selection of these would find their way on Ovo, Long Walk Home and Up, after going through many different permutations, variations and approaches, with people being invited in to try different treatments and musicians asked to overdub all manner of parts. The joke has been made that Up is the first recording that needed its own archaeology department to organise, store and retrieve all these bits of information. It was therefore not surprising to hear
"Looking back, I don't think we would have been able to do it with more traditional studio gear," Chappell remarked. "With Peter's way of working there's simply no other way of doing it. It does get quite crazy, because he doesn't like to throw many things away, so you build up a huge archive of tracks and tracks and tracks. I had various assistants on the project and one of their main jobs was to listen to things and make notes of what's happening and highlight the different bits. These highlights then ended up on DAT tapes so we could go back and listen to them. Then they got transferred to iTunes, the Macintosh's MP3 player, and so Peter always had a point of reference."
Nevertheless, with Ovo and Up being Gabriel's first largely self-produced recordings, one wonders whether he and Richard Chappell didn't at times feel overwhelmed and find it hard to remain objective. It appears that the versatility of digital technology again proved essential. "We didn't get overwhelmed because the music we were working on was always changing. The canvas in front of us was always changing... it was always fun, and always interesting, and I really like the music. And Peter is very amicable and fun to be with. So it was refreshing more than overwhelming. I never got worried about it."
"Peter has been asked that question quite a lot," Richard Chappell commented. "We played with the running order a lot, and we always kept coming back to this track as the first track. It is one of the first tracks that we finished, and it was one of the easiest we worked on, to get it right. It just has so much muscle and it seemed like a fun idea to have the quiet intro and then the loud assault. Some people have actually broken their hi-fi because of it. A few people became quite upset during the discussions about the running order, but Peter wanted to come back and show some strength. I really respect that. "The quiet pulsey sound right at the beginning is a triggered keyboard sound. It's a gated treatment that's running along triggered by a groove, and then we cut it in and out and laid it at the front of the track. The aggressive, loud noise that comes in is actually a conga going through a distortion box. It's all drums and percussion, although there's a guitar underneath it as well. We used the Jam Man for the distortion, and there are a lot of percussion loops on that track created with percussionist Mahut Dominique. The distortion on Peter's vocal is a combination of the Sansamp and a Line 6 plug-in. It wasn't added in the mix, we always had the vocal like that."
According to Gabriel, this was originally entitled 'House In The Woods' and remains a track about "fear and how fear inhibits people". The track has reportedly inhibited quite a few people from listening to the rest of the album, such is the shock of the gentle tuned percussion right at the beginning being abruptly interrupted by monolithic distorted riffing and vocals. One wonders why Gabriel decided to put this right at the beginning.
"Peter has been asked that question quite a lot," Richard Chappell commented. "We played with the running order a lot, and we always kept coming back to this track as the first track. It is one of the first tracks that we finished, and it was one of the easiest we worked on, to get it right. It just has so much muscle and it seemed like a fun idea to have the quiet intro and then the loud assault. Some people have actually broken their hi-fi because of it. A few people became quite upset during the discussions about the running order, but Peter wanted to come back and show some strength. I really respect that.
"The quiet pulsey sound right at the beginning is a triggered keyboard sound. It's a gated treatment that's running along triggered by a groove, and then we cut it in and out and laid it at the front of the track. The aggressive, loud noise that comes in is actually a conga going through a distortion box. It's all drums and percussion, although there's a guitar underneath it as well. We used the Jam Man for the distortion, and there are a lot of percussion loops on that track created with percussionist Mahut Dominique. The distortion on Peter's vocal is a combination of the Sansamp and a Line 6 plug-in. It wasn't added in the mix, we always had the vocal like that."
The Truth About Analogue
Gabriel and Chappell were, however, worried about another aspect of digital technology: sonic integrity. In 1995, when work on Up began, hard disk recording was in many ways still in its infancy, and many were fearful of losing data and concerned that 16-bit audio coming from a hard drive sounded inferior to tape. Chappell said "I tend to agree that
Chappell: "The elephant-like sound is a vocal treated by the Jam Man. This is the only track that has a sample from a library -- a cello coming from a normal Akai library. What sounds like DJ scratching is in fact Tchad. He put a bunch of drum fills onto a tape machine, hit go on the tape machine and spun stuff in."
"We A/B'ed a lot of A-D converters. We had used Apogees for the final stereo transfer to DAT of Us. Since then we did more A/B tests and got a bunch of Prism converters to record any fundamentally important things, like vocals. We immediately heard the difference between the Prisms and the Pro Tools A-D converters. One of the reasons for going for the Sony Oxford desk was the quality of its A-D converters. In the end we simply used the Sony converters. Our only problem now is to figure out where we're going next, because the Sony doesn't support more than 48kHz, and I've listened to 96k and it sounds better. But then, the Sony sounds better than a lot of 96k desks that are around at the moment.
"When we began the project there was no 24-bit recording. We did eventually transfer everything to 24-bit/48k and kept it at that. Sometimes
Gabriel: "The oldest track on the record. The original riff is probably 15 years old but it was something that I always liked and felt had good emotion in it. As a teenager I was very influenced by soul and blues and it was my starting point for a lot of music. I think this was definitely an influence on that track."
"We also do treatments in the Sony console. I'll have a reverb available like his standard Quantec, a set of delays and quite a few plug-ins, whatever is needed. But as a rule I print any treatment or effect, so when you get something that's really happening, it is recorded, rather than having to go back and having to set up again. The same with a plug-in that's working."
The Writing Room boasts a 32-channel Neve 33-series desk, but its 33797 modules are "basic
'No Way Out'
Gabriel: "That is something that emerged from the early sessions and there was this sort of Latiny feeling to the groove, but that's pretty much buried now. In fact some of my favorite rhythm programming was on this track by Chris Hughes and a thing called Supercollider [a Mac freeware soft synth]. It breaks everything up into lots of little pieces and then reassembles them, still very granulated. It has this strange mysterious percussive quality to it. I was thinking a little more Roy Orbison when I was doing some of the singing and I think there is that influence as well as the computer-mangled ethnic rhythm element."
Gabriel's love of guitar stomp pedals and analogue sonic treatments are other examples of old-tech -- as is, arguably, his most recent talent, playing the guitar. "Yes, Peter plays guitar now!" stressed Chappell, "and yes there are particular ways in which he works, sometimes with sampling, sometimes with manipulation. He doesn't play it normally, let's say. But he has fun doing it, and he likes to record a lot of it, and then he likes to go back and find out what happened."
'More Than This' is one of the tracks that came out of Gabriel's unorthodox guitar experiments (see box), as is 'No Way Out', on which he is credited as playin
Chappell: "The way that track ended up was very much Stephen [Hague]. The way we'd worked on it, it was very dark, even on the 'up' section. There's one loop that remains from that, the drum loop that comes in and out. Stephen worked with a programmer called Chuck Norman and they got the rhythm track to happen the way it does. We did a mix of this track for the movie City Of Angels a couple of years before, and Stephen heard it and wanted to have another go at it. So we let him and it ended up on the album."
'The Barry Williams Show'
Chappell: "The treated loop I did on this came out of the 3/4 drum tracks that we had put down -- as we did for every track -- and me going, 'right, what can we do to make it different and right?' So I took some Manu [Katche] parts and looped them up and started to treat them with some samplers and put them back on hard disk. I think you can just play with things and see what happens."
Chappell's credits on Up extend beyond general engineering to individual mentions for programming on all tracks and 'treated loop' on 'The Barry Williams Show' and 'loop manipulation' on 'My Head Sounds Like That'. Most of his programming centres on rhythms, reflecting his origins as a drummer. "It's basic stuff really," Chappell explained, "because you're engineering you're adding sounds, you're programming stuff, you're moving things around. It's normal in engineering now. This is why my credit for programming on 'The Drop' [a piano/vocal solo for Gabriel] pissed me off. I just recorded it and manipulated some stuff around. That's all. With regards to the other stuff, now and again we ge
'My Head Sounds Like That'
Gabriel: "Some chords in there are very old, but the mood was something I liked. And then there was this moment in Africa when one of the echo machines jammed and started malfunctioning and I liked the sound of that, and so the loop that begins the track is actually from this Delta Lab Echo which was crapping out at the time."
"We normally have a rule that we only use audio that originated from us, so no sample CDs. We have a lot of drum sessions that we go back to and get parts from, and then it's a matter of trying to get it to sound different. Sometimes I may get some MPC happening, but most of the time I like to cut up audio in Logic. On Ovo we had a programmer called BT [aka Brian Transeau, interviewed in SOS December 2001], who did some programming on the tracks 'Make Tomorrow' and 'The Tower That Ate People'. I
'More Than This'
Gabriel: "This came right at the end from a thing I started with guitar samples. I was mucking around with guitars and Daniel Lanois had left his beautiful Telecaster. I can't play guitar to save my life, but I can make noises on it. The first sound that you hear on this track is me manipulating my guitar samples on the keyboard. I'd always liked it, and I was driving through the Italian Alps and found this old cassette which had this stuff and I'd been playing around with a different groove, and it started to make sense to me at that point."
Another juxtaposition of the hi-tech and the old-tech came in with the American engineer, producer and mixer Tchad Blake, who mixed the album. Blake is particularly known for his work with 'dummy' binaural heads (in his case the Neumann KU100), and his strong preference for compression and what he calls 'mechanical effects', sticking microphones in rubber tubes, tin cans, or cardboard boxes rather than using digital reverbs (see SOS December 1997). Blake decamped from Los Angeles to the Cotswolds in recent years and now mixes and records frequently for Gabriel's Real World label, often using his binaural head. Blake himself was reluctant to talk about his work on Up, but Chappell was prepared to lift the veil a little. "I think Peter invited Tchad because he was producing himself and wanted to have a fresh pair of ears towards the end of the project to keep things under control. Tchad is very strong-willed and having someone like him around is a good discipline. We tried out a few songs with him, and Peter liked the results, so we kept going. Tchad is a genius with what he can do sonically. We also have a history with him here at Real World, so that's what we went for."
There was, however, one complication, and it fell to Richard Chappell to sort it out. Blake didn't want to mix on the Sony, nor did he want to mix straight from hard disk. So he set up in the large recording room in Real
"Tchad wanted to work off tape and completely in analogue -- although in the end he did mix from hard disk. Tchad likes to work in the big room because he has a lot of equipment and wants to spread it around. He likes the Sony Oxford desk, but he often inserts a lot of analogue gear everywhere in the signal path. You can do this with the Oxford, but you get sample delays. You can adjust these, but it was just too much hassle for Tchad to deal with. He's very instant and likes to quickly buss things in and out and get on with it. He could also use his binaural head techniques more easily in the big room.
'Signal To Noise'
Chappell: "The Oxford backward samples on this... Peter likes to have treatments come back again through the Oxford and use the EQs on the console, which are pretty dynamic. So he'll take his keyboard track and a drum track through the EQ and do some passes of the whole song running an EQ filter across it."
"With Tchad mixing in a separate room it meant that Peter and I could keep working. Peter would be in here recording things with me for the same song that Tchad was mixing, and we'd walk towards the main building to add these things to the mix. Tchad would either agree or disagree, and they'd have to figure out between them what was going to be used."
Tchad Blake's mixing process and Gabriel's enthusiasm for last-minute overdubs meant that the various ingredients of many songs ended up in even more different places than before, making Chappell's job of compiling the material still harder. When I talked to him, he was in the middle of collecting the recorded ingredients o
Chappell is also preparing material for producer Stephen Hague, who is working on a revamped version of Ovo, with Gabriel singing all the songs, which is to be released later this year in the US as a genuine Gabriel solo record. A remix album, which will see people like Tricky and Trent Reznor having a go at various tracks from Up, is also expected in the shops towards the end of the year. On top of all this, after the European and second American legs of the Growing Up tour in the spring and summer, Chappell and Gabriel intend to complete the follow-up to Up, tentatively titled I/O and based on material from the same sessions as Up. It is scheduled to be out some time in 2004. It seems like an extraordinary avalanche of releases from the master of non-record-proliferation: "Sometimes you wait ages for a bus, and none come, and then suddenly four come along," is Gabriel's explanation. With a possible six albums out in the period 2000-04 he may risk having a congestion charge slapped onto him...
This month's in-depth video interview features Grammy-winning producer Scott Jacoby. He welcomes us into his own Eusonia studios in New York to show how he created a ‘60s-inspired track for the former Ronnettes lead singer.
You are in good company!
“I admire Sound On Sound as the survivor amongst the professional media"...
In this month's video interview we meet a living legend of the audio industry, Mr Rupert Neve himself. Over 25 minutes, we talk transformers, software modelling, and get the story of how he created the world's first high-Q equaliser.
In 1939, Shure revolutionised the music industry with a microphone so successful that it is still in production today!
Secrets Of The Mix Engineers: Dave O’Donnell
The art of music production lies in serving the song — and working with James Taylor, Dave O’Donnell felt that modern production trends would hinder his aim of capturing emotive performances.
Pioneer Of Electronic Music & Digital Synthesis
A visionary in the field of electronic music, John Chowning invented FM synthesis and set up CCMRA, one of the world’s most influential research centres.
Recording Yo-Yo Ma
Engineer Richard King has brought the art of ensemble recording to new heights in both classical and folk/pop spheres.
Throbbing Gristle’s highly individualist approach to music extended as far as making their own instruments and, ultimately, their own genre.
Secrets Of The Mix Engineers: Andy Selby & Bernie Herms
A combination of technical wizardry and old-school craft helped Bernie Herms and Andy Selby bring Josh Groban’s Broadway album to life.
Mixing Bowie, NIN & Katy Perry
Pete Keppler’s career has seen him mix shows for some of the biggest artists in the world. We asked him how it all happened.
Jolyon Thomas: Producing Are You Satisfied?
The success of Slaves’ debut album depended on producer Jolyon Thomas finding a way to bottle their raw live energy.
As one of the world’s leading mastering engineers, Vlado Meller has enjoyed great success — and his share of controversy.
Hailed as the first British acid house single, A Guy Called Gerald’s sublime ‘Voodoo Ray’ has since become a classic in its own right.
Bill Gould: Recording Sol Invictus
Recording and producing your own music is always a challenge — especially if, like Faith No More, your previous albums have been done by the best in the business!
Secrets Of The Mix Engineers: Shawn Everett
In the making of Alabama Shakes’ Sound & Color, producer Blake Mills and engineer Shawn Everett had almost unheard–of licence to experiment — and took full advantage.
Oasis’s 1996 gig at Knebworth marked the end of an era for point–source PA. We asked the people who made it happen what has changed since.
Andrew Barnabas & Paul Arnold
How do you write music for a TV show you haven’t seen yet? It helps if you can draw on years of experience composing for video games...
Built in the '50s as the broadcast headquarters for the GDR’s state radio, this complex is home to some of the world's most breathtaking recording studios. Watch our video tour...
Alexis Taylor, Joe Goddard & Mark Ralph: Recording Why Make Sense?
Down in Hot Chip’s bunker-like basement studio HQ in Hoxton, the five members of the London band are coaxing strange sounds from an array of analogue synths.
Secrets Of The Mix Engineers: Derek Ali
Kendrick Lamar’s To Pimp A Butterfly is one of the most ambitious hip-hop albums of recent years. Derek Ali was Lamar’s right-hand man during its making.
Matthew E White, Trey Pollard & Natalie Prass: Spacebomb Studios
Spacebomb Studios’ old-school production values and teamwork have made Richmond, Virginia one of the hottest recording locations in the USA.
Inside Track: Secrets Of A Mix Engineer
Bob Dylan’s album of Sinatra covers is an unlikely triumph. So good, in fact, that it didn’t need mixing!
Working with super–producer Jacquire King was a dream come true for James Bay. In a unique interview, King explains how he oversaw the recording of Bay’s hit debut album.
Back To The Ark
Reggae fan Daniel Boyle painstakingly researched the equipment Lee ‘Scratch’ Perry used in his groundbreaking Black Ark studio — then made an album with the dub legend himself.