But all in all it took twelve weeks, from beginning to end. We did the same routine the album before as well. I also did a vocal session with Michael in Athens. Then we did a fourth session, we went to Nashville where we mixed and did some more vocal and recording. So we did three sessions, three weeks each, two of which were in New Orleans, one in Berlin. Yeah, we needed to break up the process and give Michael enough time to write lyrics in between each session. album was recorded in several different cities. If you work with great musicians with a lot of experience, you pick up quite a few tips. I was very fortunate to learn a lot from R.E.M., about how they approach their records and what they like. You’ve just got to go in knowing what you’re doing and have a plan. But, you know, I’ve got a job to do, and they’ve asked me to do it, so nerves and fear shouldn’t really play any part of it. But I find that with most projects, regardless of experience or lack of experience, each new project’s first day is always a bit difficult. Was it daunting to go work with R.E.M., a band that has been together for so many years, and done so many albums? They’re good people to have doing your PR, that’s for sure. I read that Edge suggested to Michael Stipe that R.E.M. Yeah, they’re pretty driven, which is always good for an artist. They were very patient, and it was a fun project. So that must have been a good experience. Musicality and technical things can mean little if you have a bunch of people who don’t want to be in a room together." "Some jobs aren’t just about recording, they’re about getting people into a room together. I don’t think anything particularly changed after one job, I think one leads to another, that’s generally is how it goes. I’m not sure I agree with you, as far as the "break." But I did work with them, and then others afterward. It sounds like your big break was getting involved with U2? Is that true? If you’re asked to do something, you should do it. ![]() About getting things done on time, meeting deadlines, and making them work. Remixes encourage you to throw everything away. But there’s a time for authenticity and there’s a time when you should just throw everything out. I’m mostly doing mixing now but I’m going to get back into doing some remixes. Hell, I don’t even know what a “good” record is. I can’t really quantify what a “good” producer is like. A lot of times it’s not down to the producer if it’s good or bad. People judge producers on successes or failures. Musicality and technical things can mean little if you have a bunch of people who don’t want to be in a room together. Some jobs aren’t just about recording, they’re about getting people into a room together. It’s very hard to know, until you know what you’ve gotten before you start recording. I’m not even sure what a good producer is. There are people who haven’t been musicians who make great records, and people who don’t engineer who make great records. I know there’s people who aren’t musicians who are very good producers. We took a moment to retrace his path from musician to engineer, and to hear how his mobile UAD-2 Powered Plug-Ins rig and UA Classic analog gear helped him produce R.E.M.’s latest album, Collapse Into Now, in multiple studios around the globe, from Berlin to Nashville to New Orleans.ĭo you think you’re a better producer because you were a musician first? ![]() Humble and soft spoken, UA caught up with him in production for the latest yet-to-be-named Snow Patrol album. His intuition for what sounds right has led him to work with legendary rock bands such as U2 and R.E.M., as well as beloved indie acts including Snow Patrol, Bloc Party, and Crystal Castles. Jacknife Lee and his trusted arsenal of UAD-2 Powered Plug-Ins.Īs an Irish musician, remixer, producer, and engineer, Jacknife Lee sees the art and science of music production from every angle.
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