Joe Chiccarelli Interview

Part 1:"You do this for the love of it. You dig in, you put your whole being in it, you take whatever time it takes to make it great.

I think that's imperative on every project you do...."

Talking to Joe Chiccarelli about the albums, decisions and choices that led him to where

he is today. From his first days in the recording studio, through his extraordinary collaboration with Frank Zappa on his unusual half-live, half-studio huge Frankenstein-like piece, Sheik Yerbouti, to working with Jack White and The White Stripes, with a particular emphasis on the Icky Thump album....

For today's guest any words of introduction are unnecessary. Whatever I write here, the albums he has produced or mixed will always speak about him in the most beautiful and complete way.... 

 

Joe Chiccarelli. Ten-time Grammy and Latin Grammy Award-winning producer/engineer/mixer whose credits include such artists as Tori Amos, Beck, U2, The Strokes, The Killers, Elton John, The Shins,

The White Stripes, Morrissey, Alanis Morrisette, Jason Mraz, Juanes, Julieta Venegas, The Raconteurs, Cafe Tacuba, and My Morning Jacket. 

 

Other projects through his long and extraordinary career have included music supervision of films such as Suicide Kings and Men with Guns, the TV series Cracker and Robert Altman’s The Gun. Joe is the studio designer for the state-of-the-art Royaltone Recording Studios (now Sphere) in Burbank, CA, and has served as an A&R consultant for several major and independent labels. Joe is based at Sunset Sound Studios in Hollywood, CA. 

 

In the first part of our interview we'll look behind the scenes of the recording and mixing process of

Frank Zappa's Sheik Yerbouti album. We'll talk about what was the hardest part of working on this unusual half-live, half-studio huge Frankenstein-like piece. We will find out if Frank Zappa had any little-known habits, routines or things to watch out for while working with him in the studio. We'll talk about working with Jack White and The White Stripes, with a particular emphasis on the Icky Thump album.

 

We'll also talk about why pre-production shouldn't be omitted and about what is crucial for the listener

to fully preceive the song, to be really involved and most importantly, to want to come back to the song.  We'll also talk about what's so special about the Tonelux JC37 condenser microphone that proudly

wears Joe's initials….


This will be a very interesting and useful conversation for anyone who is interested in working in the studio. It will be a conversation with a lot of very interesting technical details, full of knowledge, tips and passion....

Adrian Lucas Witaszczyk: Hi Joe, thank you very much for accepting my invitation. It's a great honor for me and
an extraordinary moment. I think it's one of those days that will stay with me forever.

 

Joe Chiccarelli: I'm very pleased Adrian. Thank you for the invitation. I know you have a lot of questions. I also know you've been working hard on them.

 

I wanted to be not only well prepared but also to host you with questions that will be interesting for you and that I hope will be a beautiful journey through your career. You know how much I appreciate the albums you've worked on, so this conversation is a challenge for me too.
 

I think the first question will surprise you, because I want to ask you about the new Tonelux JC37 microphone,

I know you have a lot in common with it....

Oh, wow, actually, you surprised me that you want to start with this.... Great, thank you for asking! So, yeah,

I started this project about six years ago, maybe more now, I was mixing a lot of projects that people would record

in their home studios. And they were always using these inexpensive vocal microphones that were very bright,

very hypee very artificial sounding. It was always difficult to mix the vocals because they were so sort of out of balance frequency wise. So I thought about, boy, it would be great if somebody made an inexpensive high quality condenser microphone that was great for vocals. Not too harsh, easy to blend it with the track. And I thought about one of my favorite microphones which is the old C37, a tube microphone from, I think they were made in the 1950s. And I've always loved the way they sound. 

 

I'm fortunate that here at Sunset Sound, they have like nine of them in the mic locker. So I had access to them. And I thought, boy would be great if I could make a recreation of this. I thought, it couldn't be that difficult to do that. Maybe take me six months or a year. And six, seven years later, we finally have it out in production. We've sold about 100 of them so far.

And it's a very unique microphone.

 

What's so unique about it? How would you describe the sound of this microphone, in the context of the original,

and of course, what are the reasons why this microphone works so well on vocals?

 

It's a very simple tube circuit. It doesn't have a lot of output. But what it does have is some magical quality that the upper mid range is somewhat relaxed, and has plenty of air, plenty of top end, but the mid range isn't harsh and aggressive, like a lot of condenser microphones that tend to be more forward sounding and present. This is just warmer, fuller sounding in the lower mids and a little more dipped in the upper mid range. 

 

So it tends to be great for singers when they get in their upper register, and they start to build and it's a little powerful or a little harsher or edgy. It has a way of almost compressing, and just relaxing the vocal, allowing it to sit in the track without having all these ugly peaks in it that are hard to balance and they jump out in the track. So, I mean, a lot of trumpet players love this mic, because it never gets too harsh. And it's got a nice chesty, lower mid range to the microphone. So it's quite a unique beast.

 

We started trying to find out how to build this and I'm working with the guys at PMI Audio, which is Tonelux and Trident and number of other companies. Brent Casey, the designer there, showed me a number of different transformers because to his ear, really, the bulk of the sound is the transformer. So we really spent a lot of time listening to different transformers and trying to get the sound of the original microphone. 

 

We probably listened to 18, 20 different transformers, I don't even know how many, and we could never get the sound of the original, just never get it! It was frustrating. I almost threw in the towel a couple of times. But we finally researched it and went back to the original company that manufactured the transformers in Japan in 1953. 

 

We talked to them and they said, yes, we have the plans, we can build it. And unfortunately, they built one, sent it to us and it was nowhere near what the original one sounded like. So we went back to them and they said, Oh, forgive us,

we made a mistake. The original transformer was made with a very unique steel alloy. And we made yours with the very ordinary steel that we make most microphones and we could make the mic with that unique alloy but, it'll cost a little bit more money but we could find it. They got it and they sent us the transformer. And it was very close. We had them do some
tweaks on the windings and everything, and I think they've got it to be 98% of the sound of the original transformer.

 

Now we went about building capsules, and we went through a number of somewhat named C37 capsules that were made

by various capsule manufacturers, and none of them were even close sounding. So Brent decided to make his own.

It took him about three or four tries of designs and refining, but I think we have a microphone that sounds 98% the original Sony microphone.

Wow, great! 

Yeah, the real differences are that over the years, Sony changed the microphone without telling anybody about it.

They changed power supply, the transformer, some of the capacitors, some of the values of components. And just made

what they thought were tweaks. So if you put our microphone next to the nine microphones that Sunset Sound owns,

there'll be variations but they all sound like the same microphone. It's sort of like, you know, if you put a U87 in with nine

other U87's, it's gonna sound like a U87. One might be a little darker, one might be a little brighter, one might be a little louder, but it's gonna have the same tonal characteristic. And I think we've achieved that on this.

Sounds like a great microphone. I have to get it and try it out as soon as possible! 

 

Yes! They're very, very unique mics. If you have a kind of singer that, when they jump up to the higher notes in the chorus, they get a little thin or harsh. The nice thing about this microphone is it remains full. I mean, Frank Sinatra used to use this all the time in the 50s and 60s. Because it allowed him to be dynamic, to get in close for the verses and pull back for the choruses. That kind of thing.

I had more questions about this microphone but you already answered a couple, but, let's try this....

Do you have any tricks with this microphone? Something you only use this model for? 

 

Oh, good question. I love it on cymbals. I love it on acoustic guitars, trumpet, vibraphone. Like I said, when I work with a singer, I'll put up a dozen different microphones based on the sound I'm looking for or what the singers voice sounds like.
And I would say, eight out of ten times, seven out of ten times it comes up making it to the end of the choices, you know,

AKG is usually brighter kind of microphones, 251, or C12 microphones tend to sound great for rock singers.

U47 tend to sound great. And this falls somewhere in the middle. It has the air and the brightness of an AKG but it has the fullness and body of an old Neumann.

Well, I'm amazed. I really must check out this microphone. 

 

Basically, they were trying to make their own U67. They failed, but they came up with something very unique in the process.

I might be wrong, but from what I remember.... you mentioned Frank Sinatra, if I remember right, the original

C37A was also Sting's favorite studio microphone, I think, his voice sounded better on it than on any other microphone. 

 

Yeah, a lot of singers was! there's shots of Hendrix using them. Zeppelin using them. Many many people over the years.

They didn't make it all over the world. They weren't as popular as the Neumann. But definitely for somebody looking to expand their microphone locker, these were there. So all the major studios and all the record labels, Capitol, RCA, they all have them.

So, now I got a very tough question.... Tell me about the best albums you have recorded with the original C37A?

 

Oh, wow, man! What a question! I don't know. I mean, I've used it on so many different occasions.... Let me think....

The Jason Mraz album that I did. I know we use that on acoustic guitars. We used it on drums, we used it on vibraphone,

so, that maybe it came into use a lot on that, and that album was nominated for Best engineer Grammy.  So maybe this C 37 helped.

If you'll allow, let's go back to the past now.... What did your cousin teach you at Boston's Fleetwood Studio?

The most important lesson you got then?

Okay, well, when I first started, I started out playing in a lot of little garage bands as a kid and I got very interested in recording. I bought a four track machine and tape up old little consumer Ampex and started tinkering with recording and got fascinated with it and luckily found out that I had a distant cousin that owned the studio. I asked him if I could hang out there during school vacations, weekends, sort of thing. He let my band come in and make demos. So it was a real fortuitous break,

that I had this relative that had studio, but the one thing that I learned there really was, I learned to observe, I learned to, because I was just basically allowed to hang out and watch things. So I had to be quiet, you know, I had to be invisible.

So I really learned to watch and observe and see what the hierarchy of a session was like and watch how people handle themselves in tense or important situations, how they related to perhaps a diva like singer or temperamental arranger or how the engineer handled it and how the producer reacted and how people got along. So I think I learned some people's skills in those very early days.

I think I won't be wrong if I say that one of the most important albums, and perhaps the most important for you is Sheik Yerbouti, by Frank Zappa. It was quite unusual and I think, also a very informative beginning of your career, because it was a big, double album, which mostly consisted of tracks whose core was recorded live and then extensively overdubbed in the studio. It looks like there were some incredible things going on in the studio.... do you still remember that period?

 

Of course. Yeah! Frank really gave me my break. I was an assistant engineer at Cherokee Studios, and I got to work with Frank and we got along very well and he asked if I would complete the album with him, and we went and spent the next

month or two, finishing the record, which meant overdubs on these live takes. Most of the time, he would strip everything back,

except for perhaps bass and drums, and then we'd do all the guitars, redo all the keyboards, add the vocals, whatever it might be. And he was very progressive, very radical in the way he thought and recorded, and he always wanted to make recordings that were innovative and outrageous and not normal, not safe but unconventional.  

 

So it was really a great education for me to be pushed and encouraged to come up with unique sounds and to get crazy

in the studio! To my experience before that, there was a certain way that you went about recording and everything was very organized and by the book, if you will, and Frank went and he just broke all the rules. So it was a fantastic education for me. Specifically with the Sheik Yerbouti album and Joe's Garage and Tinsel Town Rebellion. All in all, I probably did about half a dozen or so with him. You know, he always found amazing musicians. He found players that were at the start  of their career. He could spot great talent. Vinnie Colaiuta, Peter Wolf, Adrian Belew, so many great guys....

Yeah, he always had so many fantastic musicians around him.... there was also Steve Vai....

Oh Yeah! Steve Vai, just incredible players. And Frank could see in them that spark, that uniqueness, that ability to go beyond. And he encouraged that in people and it was a fantastic education and fantastic time for me....

Additionally, it was material recorded in different places, not one complete performance....

That's right!

 

So tell me, if before overdubs, did you have to additionally take care of the sound coherence of the recorded tracks?

 

Oh, yes. I mean, it was pretty crazy. We would edit takes, you know, might be that the first half of the song was from Vienna, and then the second half was from New York City. So we were talking and making crazy stuff all the time.

And Frank had no fear. That's the thing. And that's the thing I find now with working with a lot of great artists, the great ones really have no fear, they're confident within themselves. They go about doing what they believe in. And they put the blinders on and just do it and make sure it pleases them. It's great for them. It's what they want to achieve.

And Frank was very much like that. So yeah, there were challenges. Everything was a challenge. You had to figure out how to make those two concert performances work. And whether it was that you had to find the segue or crowd noise or something, but you had to make that work.

Well, I'm not sure if the question that comes to my mind now is still necessary, but let's try....
I wanted to ask you about ways to clean up the tracks then, when both recording and playback technology was different.
There was no basic plugins, not to mention advanced bundles like Izotope RX, getting rid of things like unnecessary muddy and rumbling frequencies and resonances, or bleeding was then very limited.... 

Oh yes, that's right! That was all done 48 track analog to tape machine sync together. So, getting the synchronizers to work and all this kind of things was frustrating, but in terms of how did we clean it up? We worked on a Harrison console.

Maybe 48 channel Harrison, I can't remember, 4832 might have been the model number. And they're very detailed parametric equalizers. So we did a lot of that, we also had some outboard parametrics like Orbans and things like that.

....and this album was mixed on the Harrison console as well?

Yes. The first few albums that I did with Frank, we worked at Village Studios, for the most part. We worked in other studios, including Record Plant, Sunset Sound and Cherokee. But we mostly settled into the Village Recorder in West LA.

And at the time they had Harrison Consoles. So that's what was mainly the focal point in the mixing of those records.

But Sheik Yerbouti wasn't your debut when it comes to working with Frank Zappa, two years earlier you were an engineer on the Live In New York album....

Well, the thing with Frank is that he would love to record! If he wasn't on the road touring, he wanted to be in the studio recording. So, the minute he got off the road, he would call me up and say, I want to get in the studio and cut a few more songs. And often, the intent wasn't for an album, he just compiled songs. And then one day he had an album.

Joe's Garage album started out as us doing two songs. And that turned into four songs. And he was having such a good time recording that it turned into 24 songs. And all of a sudden, we had a double album.

In your opinion, what convinced Frank about you? What made you do so many future projects together?

Oh, I don't know. I mean, he was great in that he really trusted me and let me do my thing. And I was obviously respectful of him and really loved what he was trying to achieve. So, I think, perhaps he knew that I cared. He knew that I really wanted to make the records great. That's what matters on every album, you do this for the love of it. You dig in, you put your whole being in it, you take whatever time it takes to make it great. I think that's imperative on every project you do.

Yeah, and when I listen to records produced by you I think that, by working with Zappa you had a chance to learn wisdom in music very early on. You know, how important is composition, arrangement, harmony, counterpoint, tension and movement in music.... and we all know that he was extremely intelligent, that he sometimes treated music as the most complicated math, but if you were to answer if he had any unusual, little known habits, routines or things to watch out for when you work with him in the studio?

That's interesting, like most singers he was a little uptight when he goes to sing, but, he was a little more nervous when it came time for him to do guitar solos. You know, he was an amazing guitar player, but when it was time for him to solo, he would often get a little too self conscious and he'd feel like he wasn't playing great. And really, he was always playing great,
but he felt like he wasn't at his best and he'd really be hard on himself and very critical about his performances.

But, most artists are like that, we all want the best. We all know that we're recording something that hopefully will stand time, and we want it to be worthy of that.

Oh yes! That's so true.... I know that not only did Frank not like all the emerging aspects of synthetics and digital,

but he was also some kind of sceptic of this kind of sound and the impact it would have on the music,

he looked anxiously at the 80s when synthesizers, pads appeared.... What do you think he would say about today's music and music industry?

I don't know if that's the case. I think that he embrace technology, he was one of the first people to buy a Synclavier.

He was always experimenting with sounds. I mean, I think he didn't like music that was insincere. I think that he had a hard time with anything that felt plastic or fake or deliberately trying to be a hit. I think he felt it was cheesy and no depth. But no,

I think in terms of synthesizers and technology, he always had Oberheim's and ARPs and Moog's and he was in the front of it.

But I think that he was afraid of that period when music lost his wisdom and the status of art....

I think that's valid, Yes.

Which form and period of Frank's work, do you value most today? Long complicated neoclassical compositions or shorter brilliant forms?

Oh great question! I think what's most amazing is the work he did with the Orchestra Modern. I think that he really pushed himself. It was something he was very passionate about. It was something that was very forward thinking. 

And I think it's one of those projects that 50 years from now people will discover this and go, Oh my God, this guy is genius! He was the Mahler of his time.

And what do you think he would say about today's music and music industry?

Oh, that's another good question. Well, I think that in terms of the industry, he’d be having a great time right now,

because I think this is a great time for artists. You know, his time in the music business, for the most part was when record companies, major record companies had all the control. He had to leave Warner Brothers and go off on his own and
start his own independent label. So I think he'd find these times just perfectly comfortable for him.

Now I got a tough question.... what kind of producer is Joe Chiccarelli?

Wow, I hope that I'm not any particular type of producer. I try very much to make the artists record. I try very hard to be a helping hand part of the team for the artists. So I hope I don't have a type or a signature sound, or anything like this.

I hope I'm really being sensitive and generous enough that I'm becoming a part of the artist, as opposed to a specific kind of
producer. I don't know, I've always thought that the role of the producer was to really basically help the artist fulfill their vision.

What do you pay attention to when making your first decisions about the shape of the sound?

I think about what makes this artist unique, how they see themselves framed, how they want to be presented, in other words,

I really think about like, okay, where are we going? What does the artist want to do? I make it a point to spend time talking to the artist and trying to get out of them what they want to achieve with the recording. I asked them what they like about their past albums and what they want to do differently with this. And then I have my opinions too. I will tell them what I think is great about their past work and what could be different or better or perhaps a certain avenue that they might want to choose to explore but, I think it's all about really talking to them and knowing what they want to achieve. 

 

For example, working with Jack White was great. We sat down beforehand and he told me what he wanted to do different with The White Stripes album and how he wanted it to be different from the previous albums and what he was hoping to achieve, how he wanted to be a bit more daring and experimental and unusual with the sound choices. You know, every album I do with Morrissey, I mean, we have a conversation beforehand and he'll say, well, what I loved about the last album was this and what I want to do differently with this album is this.

You mentioned Jack White, how did you meet him and what did you find in White Stripes? What delighted you the most in their music? 

 

Well, I got involved with The White Stripes because I had produced an album for The Shins, and they shared the same manager. Ian Montone, the manager of The Shins, recommended me to Jack. Jack and I went and did a song together.

We went to Nashville and worked with him on one track and we got on fine. He liked the way it turned out. And he asked me

if I would do The White Stripes record. And being a fan of the band, I said, sure, and he told me that he felt like the last album that he had made was a little dark sounding and that he kind of did a lot of it himself. And this record he wanted to be more experimental, be bigger, bolder with the sounds, really take some chances. He really felt like he wanted to do the sort of tricks that you could do in Pro Tools. But he didn't want to use Pro Tools at all. At that time he was a big believer in analog tape.

And we did the album on 16 track analog. But he wanted to be able to make the same kind of edits and effects that you could do in digital. So, I told him, yeah, we can do all that stuff, but it's gonna take longer, but we can do it and he was like,

that's great. I just want to remain pure. I don't like the sound of digital at this moment in time. And I want to keep an analog and we did as well as The Raconteurs album that I did with him. We did that on two 16 track machines locked together.

But The White Stripes was only on one 16 track tape machine.

You said earlier that you hope you're not a typical producer, you surely have an amazing attitude. You know that I love your style of working and I must tell you, that for me, you have an unusual feature for which I very respect you.... You pay a lot of attention to pre-production!

Yeah! that's crucial to me. Especially with a band. I think that's really, really important because I feel like band records,

for the most part are made outside of the studio. In other words, they're made in a rehearsal room. They're made by building great song arrangements, by having a solid foundation.... the bass and drums groove just really works, whether it's simple or complicated, that all those parts of the equation work, and for me, they're best when I can work at them outside the studio in

a rehearsal room, because I don't have to concentrate on the gear or the sounds, I can just concentrate on the arrangement. So I'll take a lot of time with that. Most albums, I'll take a week or two, just working on that.

And this is great! You know, it's great that you're doing this in recent days!

Oh, thank you Adrian!

What do you think is crucial for the listener to perceive in the song? To be really involved and, most importantly, to want to come back to the song?

Wow, I know the song got to have a heart and soul. I think it's got to strike something in you emotionally that you connect to whether it's the lyric, the groove, the dynamics. Sometimes has to have all those things. Most of the time, it has to have all those things. You never know what really reaches people. But I try to stay a fan of the music that I'm working on.

In other words, I try to be objective I try to sit back and listen, like I'm listening to the radio in the car, like what's going to make this jump out at me? What am I going to feel excited about? How am I going to feel connected? Am I going to be drawn to the singer or impressed by his tone.... All those things I try to keep an ear out for.

So how would you describe Jack in the studio? What's the most important thing, the factor that determines his sound?

Well, I think the thing about Jack White is that he understands just what you're talking about. That sensation of captivating

the listener. He understands emotion, he understands performance excitement. Jack will do anything to preserve a great performance. It can have flaws, but if he feels that the magic, the energy is there, he will guard that with his life, meaning he won't overdub too much on it, that squelches the performance. If it's a guide vocal that happens to have magic, he's not afraid of keeping it even though it might have a few bumps in it or maybe not the right tone. He knows what it is that gets the listener to connect to the song. I think with him that's the thing.

Do you still remember mixing of Icky Thump? How did you get the idea of sound on this album? What sound did you care about?

Most of the sound of that record as well as most of the recording I do, I try to get the sounds on the tracking day.

I started in at a time when everything was analog tape. Everything was about achieving the sounds that you wanted on the tracking floor. If you wanted tons of effects or compression, you printed them right on the analog track. 

 

So with The White Stripes as well as any other record with Jack including Reconteurs, all the sounds are printed.

The mixing process was very, very easy. I mean, we took, I think five days to mix the whole record, it was two songs a day, you know, you have to understand it's only 16 tracks. It was recorded through great old Neve modules and API modules and RCA preamps. So, there was lots of tone on the tape. And we mixed it through a different Neve console. So, as I said,

a lot of the tone was there. Mixing was really a question of balances, the EQ that ended up on the console was very small.

You know, little top end here a little top in there. There was an analog buss chain that had some Abbey Road Curve Bender EQs and Alan Smart Stereo Compressor, but that was it. Very simple.

Do you use any kind of different, rare or unusual compressors on this session?

Let's see. Good question, I think we used an old UREI blue stripe 1176 on Jack's vocal, that was really the sound of most of his vocals. The vocal mic changed from song to song. Some songs it was an RCA 77, some songs it was a U47.

Some songs an SM7. Usually a Neve preamp. Sometimes an RCA preamp, but mostly a Neve. And then usually that blue face 1176, sometimes maybe an RCA BA6 limiter, but otherwise compressors that were unique. Yeah RCA compressors, Fairchild compressors on drums....

Did you use Fairchild on direct drum mics or overheads?

Both, some of the overheads were put through the RCA or put through a Fairchild 670 stereo, sometimes it was a parallel.

I think most of the time when I mix, the parallel drum compressor was both a Chandler Zener Limiter and also a Neve 33609.

And what about the room mics?

Room mics would have been probably heavily compressed. Things like ADR Compex limiters, the Alan Smart C1 Compressor, I think that was probably what I was using.

Who came up with the idea of using brass in Conquest?

That was Jack's idea. Mainly because the song is an old song that Patti Page I think did the original I might be wrong about that. And Jack found the track and liked it. And the original I believe had brass on it. So that was his idea to get the trumpet player.

Any special techniques for tracking and mixing guitars on that record? For example this huge guitar sound in Bone Broke, or this great guitar sound in the title track?

I think the Bone Broke song that you asked about, some of the tracks were done without headphones, and even though the guitars were in an isolation booth, the doors were wide open and bleeding into drum mics. So Meg could hear the guitars and feel the guitars better. So I think, Bone Broke may have been one of the ones where we left the doors open and let everything bleed in. But the setup would have been the same miking wise and everything else. There were usually Coles ribbon mics,

or AEA ribbon mics on the guitars, as well as 57's, 67's for room mics, they would have gone through 1073 preamps through an API 550 on the guitar bus, and then into an 1176. That would have been the guitar chain pretty much for the whole album. And I would have three mics on each guitar amplifier and there was always two, almost always two, and I would blend them together differently depending on the sound that was required.

What kind of amplifiers did you use on this record?

Jack has a big Silvertone 1485, which was the big piggyback, one that I think was originally meant for bass.

That's kind of the low end of his sound. And then the mid range was a Fender Twin. We had a couple of different Fenders Twins, because he would blow them up. Even though they weren't cranked loud, he's got a very strong attack. So sometimes he would pop a speaker.

The song that in your opinion defined the sound and shape of this album in the greatest way?

Oh wow, well, I mean, I think the title track is great. When I first heard the guitar riff on the song, I instantly knew it was a hit. The minute I heard that riff, I was like, Oh my gosh, homerun, I can envision this on the radio. That feeling sticks with me.

And I think that there are certain songs that I've worked on in my life where you kind of know it's a hit. It just speaks to you in this way that's bigger than God. You just know it's important.

In the second part of the interview with Joe Chiccarelli (which you will soon find here) we will go deeper into the technical details of the equipment that Joe most willingly uses. We will talk about the world of digital and plugins,

we will find out what convinced Joe to use plugin versions of Chandler Limited gear, developed by Softube, we will talk about the situations in which Joe uses these plugins instead of hardware. We'll also talk about working on

The Raconteurs, Consolers of the Lonely album. We'll talk about the albums that Joe made with Morrissey and analyze them for differences in techniques and production methods. Joe will also talk about the details of the work on Morrissey's latest album, I Am Not a Dog on a Chain. We'll also talk about working with Charly Bliss and Half Moon Run. Stay tuned!

For more information about Joe Chiccarelli go to: www.joechiccarelli.com

More information about the Tonelux JC37 microphone can be found at: www.tonelux.com/product/jc37/

The beautiful pictures of Joe that you could see in the layout of this interview are by Ana Gibert.
All information about Ana's work, including her artistic portfolio can be found at:
www.anagibert.com

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