“I think you have to take it as a given that you’re going to try to have state-of-the-art recording. The more important thing is to have a sense of music and to make the right aesthetic judgment, and it’s all to do with perception. You got it on Wednesday, and you go, ‘It kind of sounds like crap.’ You go back on Saturday and suddenly it’s marvelous, or the other way around. So you take advantage of [the technology]. That doesn’t make recording fake—you’ve still got to play your ass off, whatever it is you’re gonna play, and be inspired—but there’s a little more freedom than there used to be, especially compositionally. It’s brilliant.”
Logos is our occasional series of trenchant comments on the craft of recording, gleaned from renowned musicians, producers, and engineers.