Latest / Arroe Collins Like It's Live / Conversations With Record Producers Larry Crane Gives Fans The Book Making Music

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Conversations With Record Producers Larry Crane Gives Fans The Book Making Music · Arroe Collins Like It's Live

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  Speaker 1: Aro dot net a r r oe dot net. Not
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  Speaker 1: just one podcast with a really cool connection with a
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  Speaker 1: famous person. But this is about you. This is about
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  Speaker 1: content and choices that you make in your own personal life,
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  Speaker 1: and one of them is creating your own podcast. But
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  Speaker 1: who do you believe these days? How about talking with
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  Speaker 1: those who live it every day. It's called pod crashing
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  Speaker 1: one on one me and you only on ero dot
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  Speaker 1: net A r r oe dot net. Enjoy your exploration.
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  Speaker 1: Larry Crane. I'm so proud of you for finally putting
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  Speaker 1: this book together because I guess I'm the sick one
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  Speaker 1: that has always wanted to know what goes on inside
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  Speaker 1: that studio. It's like I understand the final product, but
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  Speaker 1: by god, there's a journey that fans and followers are missing,
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  Speaker 1: and you bring it forward.
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  Speaker 2: Larry. Thank you. I mean, I know you all all
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  Speaker 2: want to know behind the scenes of our favorite records.
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  Speaker 1: Right, oh my god, especially, and that's why I've always
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  Speaker 1: invited anybody who just listens to music, they need to
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  Speaker 1: go spend a day with an engineer and really get
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  Speaker 1: into the imagination and see where they're growing, because there's
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  Speaker 1: such a huge part of this journey.
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  Speaker 2: Yeah, you know, many many people are able to record
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  Speaker 2: themselves nowadays. But but someone who's focused on their career
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  Speaker 2: on getting the best sounds, sounds and performances is really
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  Speaker 2: going to bring something else to the table when you're
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  Speaker 2: making records.
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  Speaker 1: Well, you put spotlight on one of my favorite conversations
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  Speaker 1: in the world, and that's Glenn Johnson. I mean to
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  Speaker 1: sit down with him. Oh my god, were you inspired
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  Speaker 1: as well by by just his imagination just never turns off?
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  Speaker 2: Yeah, you know, I think his his You know, he
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  Speaker 2: put a lot of thought into how to make the
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  Speaker 2: best recordings for rock music at a time where you know,
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  Speaker 2: engineers before him or older than him might have been
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  Speaker 2: a little dismissive of the sound of a rock drum kit, say,
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  Speaker 2: you know, and I think he was just being really
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  Speaker 2: highly attuned to how can he do this job to
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  Speaker 2: the best of his abilities and make the musicians sound
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  Speaker 2: as good as they sound when they're live, or even
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  Speaker 2: more fantastically interesting sounding in the studio.
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  Speaker 1: So do you sit back like I do and stare
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  Speaker 1: at those old photographs of those studios and sit there
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  Speaker 1: and go, oh my god, that equipment is so ancient.
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  Speaker 1: Yet for some sick reason, dude, you and I understood
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  Speaker 1: what was going on, and we still do.
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  Speaker 2: Yeah, yeah, I think I really liked I did look
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  Speaker 2: at those pictures, the Beatles at Abbey Road or the
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  Speaker 2: stones at Olympic or whatever it was. But I also
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  Speaker 2: you know, when I started my own studio, you know,
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  Speaker 2: twenty nine years ago, I started with a sixteen track
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  Speaker 2: two inch analog tape deck and an analog console, and
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  Speaker 2: it took me a long time to really move into
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  Speaker 2: the digital recording realm, which is obviously very very common now.
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  Speaker 1: I was going to bring that up because you're right
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  Speaker 1: about that, because I know how how long I waited,
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  Speaker 1: and it finally took a threat from the people above me.
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  Speaker 1: You either make the move or I don't give you
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  Speaker 1: the equipment to have what you've got going on right now.
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  Speaker 2: Right right, especially well broadcasts and things I remember like
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  Speaker 2: learning in my college radio station, you know how to
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  Speaker 2: They were like, okay, you got to edit tape to
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  Speaker 2: make a demo reel so you can get a job
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  Speaker 2: as a DJ here. You know, like I member, it
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  Speaker 2: was very analog based.
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  Speaker 1: Obviously, See listeners need to understand who you are as
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  Speaker 1: a person, Lary, because I mean, yes, you do talk
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  Speaker 1: about a lot of people here, but you you actually
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  Speaker 1: came up through the grunt work. This is the kind
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  Speaker 1: of stuff that that everybody would like to sit there
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  Speaker 1: and say, I want to do that. I mean, look
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  Speaker 1: at what you did with tape Off and stuff. Is
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  Speaker 1: that hard copies of things that were staple together. You
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  Speaker 1: got it out there on a grassroots movement, You paid
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  Speaker 1: your dues.
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  Speaker 2: Dude, Yeah, it feels like it now thirty years later. Yeah,
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  Speaker 2: I really wanted. I wanted to do some magazine folks
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  Speaker 2: on the art of making the records. You know, the
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  Speaker 2: the recording process, the recording equipment is all very important,
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  Speaker 2: but behind it all is the art of the song,
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  Speaker 2: the performance, the you know, what's what's important, what connects
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  Speaker 2: with a listener, what's emotional about it or or just
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  Speaker 2: simply interesting about the sound of records. So so I
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  Speaker 2: really pushed that forward with with Tapeop Magazine when I
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  Speaker 2: started that. And you know, my parents instilled a pretty
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  Speaker 2: strong work ethic in me, and and you just keep
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  Speaker 2: working on something and if you believe in it, so
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  Speaker 2: that that's been part of it. And then when my
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  Speaker 2: partner in Tapeop, John Boccagilippi, came aboard about two and
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  Speaker 2: a half years in, he really brought the magazine up
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  Speaker 2: to a huge level of you know, getting a lot
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  Speaker 2: of advertising, you know, to support it and coming up
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  Speaker 2: with the free subscription idea and and that was great.
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  Speaker 2: That just really helped everything move to another level.
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  Speaker 1: Please do not move. There is more with Larry Crane
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  Speaker 1: coming up next. The name of the book making music
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  Speaker 1: conversations with record producers were going inside the studio with
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  Speaker 1: Larry Crane. When Jinna and Maria got actually printed inside
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  Speaker 1: the book as your dedication, come on, tell me. That
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  Speaker 1: was a magical moment because I would be crying like
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  Speaker 1: a baby that you know, I'd take Okay, I have
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  Speaker 1: a gift for you.
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  Speaker 2: This is it. I didn't. I didn't tell my wife
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  Speaker 2: that I thanked her in the in the beginning of
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  Speaker 2: the book, and we just got the printed copies like
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  Speaker 2: last week, and I left it sitting around and I
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  Speaker 2: didn't mean to do this, but she like went and
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  Speaker 2: looked at it and she was like, oh my god,
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  Speaker 2: thank you, and I forgot I didn't forgotten to tell
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  Speaker 2: her that she was in there. She helped edit it too.
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  Speaker 2: She's like the main editor for a proofreader. I should
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  Speaker 2: say I guess copy editor for the book, So that
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  Speaker 2: was really great to have a wife that's set supportive
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  Speaker 2: and and part of the and part of the magazine.
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  Speaker 2: She does the copy editing for the magazine as well
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  Speaker 2: and make suggestions on my writing like the end, durants
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  Speaker 2: and things that I do. So it's fantastic to have someone,
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  Speaker 2: I mean, among many other things in my life.
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  Speaker 1: See, that's the pretty cool things because I mean, even
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  Speaker 1: if the conversation have two of you there, I would
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  Speaker 1: be sitting there measuring what you guys are saying inside
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  Speaker 1: your eyes because you guys have lived the story and
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  Speaker 1: your eyes are gonna sit there. I could bring something
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  Speaker 1: up in the two of you will look at each other.
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  Speaker 1: I'm gonna go, God, dang it, that's it right there.
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  Speaker 1: We just got something you both can relate with.
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  Speaker 2: Yeah, yeah, oh yeah.
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  Speaker 1: I was really surprised that Mark Ronson was actually in
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  Speaker 1: this because I'm still sitting here waiting for him to
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  Speaker 1: continue pushing himself forward because he's definitely got my attention
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  Speaker 1: in these modern days.
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  Speaker 2: Oh yeah, he's fantastic. He's you know, the stuff he
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  Speaker 2: obviously did with Amy Winehouse really really made her career
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  Speaker 2: happen and is you know, his solo records, which are
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  Speaker 2: really just him collaborating with so many amazing people, have
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  Speaker 2: generated so many well even Amy's hit baleries. I'm one
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  Speaker 2: of those, right, So He's done a lot of really
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  Speaker 2: great stuff and he you know, I think he's just
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  Speaker 2: a really open minded person. I just read his book
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  Speaker 2: about his early years of djaying and stuff, and it
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  Speaker 2: was really good. It was really good, and and I
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  Speaker 2: think he just loves you know, the best producers are
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  Speaker 2: people that just love music. Yep, you know. Yeah.
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  Speaker 1: See, I've always been inspired by these DJs because the
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  Speaker 1: thing is they live the life. They're out there as well.
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  Speaker 1: And so to go through this EDM movement and see
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  Speaker 1: all these DJs coming out like they did, I mean
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  Speaker 1: that inspires me. But at the same time, it's all
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  Speaker 1: electronic and it's like, oh, I want my real instruments back.
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  Speaker 1: I gotta have them back.
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  Speaker 2: I think I think Mark took a journey with that too,
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  Speaker 2: and and also big being a big, big hip hop
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  Speaker 2: fan too. Like you know, it wasn't always just like tronics.
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  Speaker 2: You got amazing raps and vocalists. But but you know,
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  Speaker 2: I think I think at the end of the day,
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  Speaker 2: like a lot of people that start maybe with music
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  Speaker 2: that's like synthetic I guess, I don't know how else
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  Speaker 2: to put it, you know, start to find interest in
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  Speaker 2: doing the things in different ways, like like someone like Rizza,
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  Speaker 2: who's in the book from Mood Tangland. He talks about,
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  Speaker 2: you know, they use a sample of something to build
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  Speaker 2: a track, and then they build their own version of
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  Speaker 2: the sample so that they could own it, you know
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  Speaker 2: what I mean. But also you're going to get a
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  Speaker 2: different sound and a feel once you start doing that,
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  Speaker 2: and it's a really interesting, I think, a really amazing
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  Speaker 2: interesting way to work where you end up kind of
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  Speaker 2: going back and learning how the old records sound, like
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  Speaker 2: reverse engineering.
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  Speaker 1: But see, that's what makes music fun is that when
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  Speaker 1: you can make it your own. And that's me has
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  Speaker 1: always been my challenge. But I'm tired of people that
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  Speaker 1: just shrugged their shoulders and say I don't know how
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  Speaker 1: to get there. Yeah you do. It's called your imagination.
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  Speaker 2: Go do it absolutely, you know, And that's part I
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  Speaker 2: think that's the coolest part of making records is having
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  Speaker 2: the imagination to what could it be, right, you know,
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  Speaker 2: what could this record be? And then finding a way
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  Speaker 2: to get there.
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  Speaker 1: You know, do you think that t Bone Brunette is
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  Speaker 1: one of the most unrecognized producers of all time? Because
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  Speaker 1: I know t Bone. The thing is is that a
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  Speaker 1: lot of people they don't, and it's like, I just
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  Speaker 1: think that we're missing him. And for you to talk
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  Speaker 1: about him, my god, what a great pat on his back.
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  Speaker 2: Yeah, I think, you know, I think he's very comfortable
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  Speaker 2: with who he is really and who knows. I think
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  Speaker 2: so he's a very He's such a gentleman and such
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  Speaker 2: a pleasure to hang out and talk to. And I
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  Speaker 2: don't think I think people like that. They've been on
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  Speaker 2: the edge. Everyone has been on the edge of fame.
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  Speaker 2: I've been on the edge of fame watching, you know,
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  Speaker 2: friends and artists go through the mill, so to speak,
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  Speaker 2: and sometimes you see what it is and you go, man,
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  Speaker 2: I am so happy being on the sidelines. And you know,
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  Speaker 2: I don't really think I'd ever want to be a
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  Speaker 2: famous person, you know, uh, from what I see. Yeah,
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  Speaker 2: And I think that's it's fun to know famous people
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  Speaker 2: and help them, you know, it's really a pleasure.
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  Speaker 1: My wife's ex husband is a record producer and I
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  Speaker 1: kept asking. I said, Bruce, you've been all over the
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  Speaker 1: place on tour. Why why don't you go out there
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  Speaker 1: and grab some fame. I don't want it. I want
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  Speaker 1: to be the guy behind the scenes. And I mean,
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  Speaker 1: do you find that to be the normal talk when
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  Speaker 1: it comes to these engineers. I just don't want it.
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  Speaker 1: I'll figure it out back here.
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  Speaker 2: It's pretty rare that that someone wants the Yeah, I
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  Speaker 2: think so. I mean, I think Tony Vasconi is a
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  Speaker 2: great example in the book. You know, he's a fantastic musician.
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  Speaker 2: He played he used to play bass with David Bowie
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  Speaker 2: way early on and while he was producing his records,
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  Speaker 2: and I think that, you know, he's probably he's seen
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  Speaker 2: that kind of fame, and it's you know, certainly he
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  Speaker 2: and David are very very good, close friends. And you know, fame, fame,
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  Speaker 2: and and and and and some of those things changed
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  Speaker 2: so much around you not change the person, but it
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  Speaker 2: would change how they have to live, like because they
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  Speaker 2: can't just step out on the street or whatever it is.
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  Speaker 2: May maybe or they get hounded. And I think we
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  Speaker 2: all end up kind of going, yeah, this is okay,
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  Speaker 2: you know, we get to And also the other thing too,
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  Speaker 2: is like I ran into a friend as an artist
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  Speaker 2: his band's thirty years old this year. I think and
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  Speaker 2: and and I said, you know, I started this magazine
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  Speaker 2: thirty years ago, and now I have to do it
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  Speaker 2: all the time. And he goes, yeah, I started my
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  Speaker 2: band thirty years ago. And I'm like, yeah, you get
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  Speaker 2: kind of locked in like that's her, you know. And
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  Speaker 2: I know he's fantastic and he does a lot of
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  Speaker 2: other projects. I'm not going to say who it is,
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  Speaker 2: but but uh, you know, and and that keeps it
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  Speaker 2: interesting for him. But the one project is certainly the
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  Speaker 2: big one, you know, and that's the one you have
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  Speaker 2: to keep going occasionally to make some money and to
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  Speaker 2: show people you're you're not gone. Wow. You know. So
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  Speaker 2: it's interesting.
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  Speaker 1: Wow, Larry, you got to come back to this show
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  Speaker 1: anytime in the future. Weird just barely getting started here.
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  Speaker 1: I mean, what you know and what you're willing to
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  Speaker 1: share is just mind blowing to me.
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  Speaker 2: Oh, thank you, thank you.
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  Speaker 1: Will you be brilliant today? Okay, sir, Yeah, thanks so
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  Speaker 1: much for having me on you bet, thank you.