Professional Sound - April 2018 - Page 38

Juno-Worthy Workflows Professional Sound gets the stories behind the songs from the nominees for the Juno Awards’ 2018 Engineer of the Year A s anyone in the pro audio and music industry knows, sometimes the people behind the console have a more interesting perspective on the music than the musicians themselves. Ahead of the 2018 Juno Awards, which were handed out on March 24 th and 25 th in Vancouver, Profes- sional Sound caught up with this year’s five nominees for Engineer of the Year. Congratulations to Riley Bell, who ended up winning the prize. In these candid conversations, each engineer shares the behind-the-scenes stories of how the pair of songs they’re nominated for came together and how each found its distinctive sound. Each Q&A included here is just a short excerpt of a longer, in-depth conversation. To read the full interview with each nominee, go to PS: Modern R&B and soul tends to have a lot of electronic instrumen- tation, beats, and effects, but the songs on Freudian have a more classic band- and piano-oriented sound, but still with a modern vibe. Was that Daniel’s decision, or was it you with producers Matthew Burnett and Jordan Evans crafting that sound? RB: I feel like some of that just emerged natural- ly. It’s funny, more of the album is actually elec- tronic than you’d probably think by listening to it. We would take organic sounds and manipulate them electronically so that something sounds 38 • PROFESSIONAL SOUND classic but it’s new, you know what I mean? Like on the early Freudian sessions, there was a lot of experimenting with different sonics and guitar tones and just different vibes. Once we hit on a specific guitar tone and sonic characteristic, I feel like it was intentional to remain cohesive to the sonic landscape that was being built. That just helps the album be cohesive and not have, like, an ‘80s guitar tone with ‘60s vintage [drums] or whatever. It is kind of like once you locked into a certain style of how we tracked the guitars and the sounds of those, then we kind of stuck to that through- out the album. The same thing with the keys and piano, which are recorded very similarly throughout the album. That was definitely an i [[ۘ[[˂[^H[Z[]Y܎'][H  [HX\x'H[8'H[ݙx'BH[Y[Y\\HH[[H]YX[Έ[Y[8&\XH[]H\Bۈ]YX[\H[H[]X]YX܈[HZ^]\[