From Allen Sides…. “First let me say that Micheal was one of the nicest most thoughtful people I have ever met. Having him in my studios was a total joy. What I meant when I spoke about Quincy had nothing to do with Q’s musical input to any of Michael’s song’s. Quincy was more than a producer he was somewhat of a life coach with Michael and they were very close. I saw this many times over the years including during We Are The World. I am sure Bruce Sweidien who was one of my closest friends would confirm this if he was still with us. When I said Michael was high as a kite it was because I had never seen him so hyped up (I have no idea if he had taken anything) and Quincy was smoothly trying to calm him down and keep things rolling smoothly. What I meant about things were much crazier after Quincy left was more about the shocking amount of studio time and money being spent with very loose coordination. Michal made great records with Quincy and great records after Quincy. I watched Michael at work making music many times over the years and he was involved in every decision. I should also note that Bruce Swedien was an integral part of all those records way more than just an engineer and Michael valued and trusted his advice. Hope this helps, Allen
This is an incredible podcast. Allen Sides is a genius. Drew Dempsey is an excellent interviewer. Asks a simple question and then lets the interviewee answer the question at length. Never interrupts them. So refreshing. Waiting for Allen Sides to write his memoire.
I'm proud to say that I got to record in Allen Sides Garage Studio back in '77. He was very good. His booth was so small that you couldn't put more than two people in it at a time. He spent some time showing me some cool mics he had bought and also showed me a great way to record a grand piano. Great memories.
A group of brilliant artists and musicians - whose instrument is called a Recording Studio. I hope you know just how HIGHLY we regard you! Allen, Joe, I have been following your careers FOR NEARLY FOUR DECADES. Listening to everything you create that I could possibly get my hands on, and what a JOY it has been each and every time! What I really want to say, more than anything, is THANK YOU. What you create has made my life much richer, much better. I’m certain this is something thousands and thousands and thousands of other people, probably millions, would also say. May it bring YOU as much happiness as it has brought US. - ✌️
Thank you guys for doing these interviews. As the original chief engineer at O’Henry I got to spend time with Allen and of course Hank Jr. It was a magical time before we had to move the studio to another location. Thanks to Allen’s relationship with Hank when Allen bought a studio he got first pick of the gear and then Hank and I got to pick thru the leftover mics. 7 C12s (2 of which were outstanding) and many others. I still miss our API that I got Brent Averill to add 4 aux busses to (originally from Compact Video in Burbank). Thanks for bringing back the memories.
I watch this or a portion of this everyday. It has somehow increased my overall awareness of music production and history which results in amazing inspiration. Thank you Allen, Joe, Sunset Sound, and Drew. P.S. I love the plug as well. :) Edit: Love Both the UAD Ocean Way Room and the IK Sunset Sound plug ins. Also using the Ocean Way Mic Collection for my Sphere L22
Wow, I had to drop everything I was doing to watch the entirety of this video right away. I worked at oceanway between 94 to 97 as a second and runner. I got to handle all those beautiful Mics they talked about boy the memories come flowing back… We handled those mics like they were gold, because they were. Mr Sides probably doesn’t remember me but I learned so much from him, and the other freelance engineers coming in. During this video, they asked about when the heyday time period really was. I will gladly submit it was between 94 and 97 certainly was the best days of my life …
These interviews are priceless! Real treasure with inside stories where no one is selling you anything and people take time to actually ask the right questions and give time to the legends to tell the stories in full. Thank you for making these and keep them coming!
Thank you for finally putting a face and voice and personality to a name that I have seen in print for at least the last 40 years. Allen is wired. Now I can (umm, kind of) wrap my head around how he has been, seemingly, everywhere and at all times for, like, ever. Sheesh, he is a go go go dude. I imagine he was quite a handful in his teens, not someone many of his friends could have or would have kept up with. I caught on to many traits in his discussions here that I have noticed in other audio-centric people I've known who have lasted and that self motivated determined at all costs thing is the central theme, I think. He's the kind of guy that the world could be crashing down all around him and he will still say ''Yeah, whatever, where was I?'' even though everyone around him is like ''DUDE! You are here on earth with us... uhhh'' lol. End of the analysis, that is what it takes. Whether you know more or less, or you can do more or less, all of that is shootings craps, doesn't really matter, that stuff changes like weather, what does matter is sticking to it, being the constant, being focused. He is definitely one of the most focused people I am aware of. Thank you guys and gals at Sunset Sound, again, for sitting down with him and documenting this discussion and his takes and memories on so many things.
Great interview, guys. I worked at Ocean Way Hollywood from 87-94, assisting Allen on dozens of records. In fact, Allen’s purchase of Record One (1988 or so) was what got me promoted from “runner” to assistant. He needed second engineers to run what became 7 studios at the time…rooms that were often running 24/7/365. One other note. I was the assistant on call at Ocean Way Studio 1 for Michael Jackson during the Dangerous album that Allen talks about here. Bruce loved the sound of the Neve 8108 for a particular song…Will You Be There, and wanted to mix it on that desk. We also recorded a portion of Michael’s vocals for that song and one other. I, too, had the honor of Mr. Swedien pulling me into the control room and saying….”You gotta hear this!!” …and playing me a DAT mix of Black or White he had finished the day before.
You asked Allen what his advice to young, up and coming engineers might be. I can tell you what he told me. He and I were in the Studio A control room one day, listening to a playback and how amazing his monitors sounded. He turned to me and said (I'm paraphrasing)...."As an engineer, you have to hold in your mind what's possible sonically. You can't chase after an amazing sound if you've never experienced it." Those of us who have had the pleasure of working in any OWR room, but certainly Studios A, B, 1 and 2....couldn't possibly convey what that experience is like to someone fresh out of school. And my advice...which is portrayed in all your wonderful interviews but not necessarily put into words....in order to be effective creatively is to build supportive, loving relationships. But then, that's probably true about life.
Sheeshhh... I always knew Allen Sides was a legend, but man... It's just wild to hear him talking about all these incredible events in music history that he's been apart of. So incredible. I could listen to these stories for weeks. I really think you guys need to do a part 2 with him. Him talking about building that amp in his bedroom had my head spinning! All those studios he owned! Whattt.. Also, side note... I think it's interesting/funny that when you listen to John McBride talk about the 8070, he always says that he "bought it from Fagen", but according to Allen here, that's not true and that it was Allen who bought it from Fagen and then he sold it to John. I'd like to know more about what Allen would have done to that board to keep it in condition while not replacing those amps .And also condolences to his family on the loss of his son. Very sad to hear.
Zac's shares the parking lot with Stankonia in Atlanta, not Treesound. We cut Gucci's "The Movie" in the Stankonia B room, others in the A room. The Zac's Stongehenge room is one of my favorites, cut a lot of songs in there, Jim Z was great and I miss our conversations.
Hanging at DA's shack across the street circa 88. Reception room 6050 drawing up deals to acquire 670's and M50s circa 91. Renting gear to Oceanway on rare occasion they needed stuff. Friends with staff like Dave n Sean. Watching my cuz drum a sesh in Western 2. Hanging in Western 1 and Ry is in the house... memories that are meaningless in the scheme of things, but for a young musician. Thank you Allen. PS. Advice to the young: 1) Its not a career its a hustle, so work hard and work smart. 2) Don't make any plans.... except to take advantage of every opportunity.
I loved this conversation SO MUCH!!! Learned much and I'm better for it, BUT what the heck is up with the audio quality?!! No one was working a mixing board on this one, and if there was someone they did not do their job. Allen is pretty good with his mic dynamics but Joe and one of the other fellas are overmodulating (clipping) frequently., and it is embarrasing to hear professional audio engineers not even monitoring their own sound while recording a video podcast. Come on guys, you're better than this!
@@JBATahoe The levels on the video are all over the place, and clipped to bits on much of the track. If you're watching this on something that is auto normalizing, it's probably much better, but if not, it's hard to listen to without riding the level. It's just kind of ironic that a conversation about fantastic audio engineering doesn't even stand up to average "podcast" quality. Keeping it real... Absolutely doesn't outweigh the unbelievable information and stories that are being shared.
Ironic indeed, but these are guys who are not accustomed to podcasting having grown up and come up in earlier times. I imagine at the time of this video maybe they didn't take it seriously and trusted the audio engineer to handle the levels. I do not envy whoever was engineering that recording though because they must have been thinking, these guys are top of the top audio engineers, who am I to tell them what to do? Something like that. Or maybe someone else dropped the ball but I don't know. I know someone did, because a brilliant conversation marred by overmodulation distortion is unfortunate to say the least. Let's all take better care when we're recording, yeah?
I really hate to say this but the audio levels on Alen's and Joe's mikes are all over the place. Compression, limiting, a better choice of microphone? VERY strange.
From Allen Sides….
“First let me say that Micheal was one of the nicest most thoughtful people I have ever met. Having him in my studios was a total joy. What I meant when I spoke about Quincy had nothing to do with Q’s musical input to any of Michael’s song’s. Quincy was more than a producer he was somewhat of a life coach with Michael and they were very close. I saw this many times over the years including during We Are The World. I am sure Bruce Sweidien who was one of my closest friends would confirm this if he was still with us. When I said Michael was high as a kite it was because I had never seen him so hyped up (I have no idea if he had taken anything) and Quincy was smoothly trying to calm him down and keep things rolling smoothly. What I meant about things were much crazier after Quincy left was more about the shocking amount of studio time and money being spent with very loose coordination. Michal made great records with Quincy and great records after Quincy. I watched Michael at work making music many times over the years and he was involved in every decision. I should also note that Bruce Swedien was an integral part of all those records way more than just an engineer and Michael valued and trusted his advice. Hope this helps, Allen
This is an incredible podcast. Allen Sides is a genius. Drew Dempsey is an excellent interviewer. Asks a simple question and then lets the interviewee answer the question at length. Never interrupts them. So refreshing. Waiting for Allen Sides to write his memoire.
I'm proud to say that I got to record in Allen Sides Garage Studio back in '77. He was very good. His booth was so small that you couldn't put more than two people in it at a time. He spent some time showing me some cool mics he had bought and also showed me a great way to record a grand piano. Great memories.
Love this quote "The harder you work the luckier you get." Another great interview.
A group of brilliant artists and musicians - whose instrument is called a Recording Studio.
I hope you know just how HIGHLY we regard you!
Allen, Joe, I have been following your careers FOR NEARLY FOUR DECADES. Listening to everything you create that I could possibly get my hands on, and what a JOY it has been each and every time!
What I really want to say, more than anything, is THANK YOU.
What you create has made my life much richer, much better.
I’m certain this is something thousands and thousands and thousands of other people, probably millions, would also say.
May it bring YOU as much happiness as it has brought US.
- ✌️
❤️👏
THE KING IS IN THE BLDG! BRAVO! ALLEN SIDES❤
Finally, a proper interview with Alan Sides - brilliant!
This is pure Gold. Thx (again), for doing these! Cheers from Germany
Thank you guys for doing these interviews. As the original chief engineer at O’Henry I got to spend time with Allen and of course Hank Jr. It was a magical time before we had to move the studio to another location. Thanks to Allen’s relationship with Hank when Allen bought a studio he got first pick of the gear and then Hank and I got to pick thru the leftover mics. 7 C12s (2 of which were outstanding) and many others. I still miss our API that I got Brent Averill to add 4 aux busses to (originally from Compact Video in Burbank). Thanks for bringing back the memories.
Fantastic conversation. Allen Sides is a legend for a reason. Great story teller, and a great memory for the details. Thank you all! ❤
I watch this or a portion of this everyday. It has somehow increased my overall awareness of music production and history which results in amazing inspiration. Thank you Allen, Joe, Sunset Sound, and Drew. P.S. I love the plug as well. :) Edit: Love Both the UAD Ocean Way Room and the IK Sunset Sound plug ins. Also using the Ocean Way Mic Collection for my Sphere L22
Wow, I had to drop everything I was doing to watch the entirety of this video right away. I worked at oceanway between 94 to 97 as a second and runner. I got to handle all those beautiful Mics they talked about boy the memories come flowing back… We handled those mics like they were gold, because they were.
Mr Sides probably doesn’t remember me but I learned so much from him, and the other freelance engineers coming in.
During this video, they asked about when the heyday time period really was.
I will gladly submit it was between 94 and 97 certainly was the best days of my life …
What an incredible roundtable discussion. Thanks for making this possible.
These interviews are priceless! Real treasure with inside stories where no one is selling you anything and people take time to actually ask the right questions and give time to the legends to tell the stories in full. Thank you for making these and keep them coming!
🙏🙏🙏🙏🙏🙏🙏
This is incredible!!!!
Awesome I could listen 2 these guys all Day!!
Thank you for finally putting a face and voice and personality to a name that I have seen in print for at least the last 40 years. Allen is wired. Now I can (umm, kind of) wrap my head around how he has been, seemingly, everywhere and at all times for, like, ever. Sheesh, he is a go go go dude. I imagine he was quite a handful in his teens, not someone many of his friends could have or would have kept up with. I caught on to many traits in his discussions here that I have noticed in other audio-centric people I've known who have lasted and that self motivated determined at all costs thing is the central theme, I think. He's the kind of guy that the world could be crashing down all around him and he will still say ''Yeah, whatever, where was I?'' even though everyone around him is like ''DUDE! You are here on earth with us... uhhh'' lol. End of the analysis, that is what it takes. Whether you know more or less, or you can do more or less, all of that is shootings craps, doesn't really matter, that stuff changes like weather, what does matter is sticking to it, being the constant, being focused. He is definitely one of the most focused people I am aware of. Thank you guys and gals at Sunset Sound, again, for sitting down with him and documenting this discussion and his takes and memories on so many things.
Great interview, guys. I worked at Ocean Way Hollywood from 87-94, assisting Allen on dozens of records. In fact, Allen’s purchase of Record One (1988 or so) was what got me promoted from “runner” to assistant. He needed second engineers to run what became 7 studios at the time…rooms that were often running 24/7/365.
One other note. I was the assistant on call at Ocean Way Studio 1 for Michael Jackson during the Dangerous album that Allen talks about here. Bruce loved the sound of the Neve 8108 for a particular song…Will You Be There, and wanted to mix it on that desk. We also recorded a portion of Michael’s vocals for that song and one other. I, too, had the honor of Mr. Swedien pulling me into the control room and saying….”You gotta hear this!!” …and playing me a DAT mix of Black or White he had finished the day before.
And this comment is why I do this show. Bravo!! Thanks for stopping by!!
You asked Allen what his advice to young, up and coming engineers might be. I can tell you what he told me. He and I were in the Studio A control room one day, listening to a playback and how amazing his monitors sounded. He turned to me and said (I'm paraphrasing)...."As an engineer, you have to hold in your mind what's possible sonically. You can't chase after an amazing sound if you've never experienced it." Those of us who have had the pleasure of working in any OWR room, but certainly Studios A, B, 1 and 2....couldn't possibly convey what that experience is like to someone fresh out of school.
And my advice...which is portrayed in all your wonderful interviews but not necessarily put into words....in order to be effective creatively is to build supportive, loving relationships. But then, that's probably true about life.
MARVELOUS Guest!
Incredible interview. A history lesson of what I call the "golden age" of audio recording.
Incredible interview and stellar audio by Farokh Shroff!
Drew!!! You're back!!! Yay!! You have been missed. 🤘
Wow. What a great interview. We have to continue to document these experiences before it's too late.
Thanks for this! A treasure trove of wisdom and inspiration.
Wow. Amazing discussion. I've bookmarked this video and I'll definitely rewatch it from time to time. Thank you for documenting this!
I thoroughly enjoyed this! i wish I could have sent in a couple of questions. Sunset is such an iconic studio!
oh my goodness this is such an amazing podcast!
Amazing!
no joke here just best engineer !nobody will come close to their skill for the next generation
but when guys like allen quit the buisness it s not good at all....
Wow! 👏
Sheeshhh... I always knew Allen Sides was a legend, but man... It's just wild to hear him talking about all these incredible events in music history that he's been apart of. So incredible. I could listen to these stories for weeks. I really think you guys need to do a part 2 with him. Him talking about building that amp in his bedroom had my head spinning! All those studios he owned! Whattt.. Also, side note... I think it's interesting/funny that when you listen to John McBride talk about the 8070, he always says that he "bought it from Fagen", but according to Allen here, that's not true and that it was Allen who bought it from Fagen and then he sold it to John. I'd like to know more about what Allen would have done to that board to keep it in condition while not replacing those amps .And also condolences to his family on the loss of his son. Very sad to hear.
great stories...when sound was music and music was sound
good one guys...
thank you!
What an interview !
Right place, right time… couldn’t happen now. How things have changed.
Zac's shares the parking lot with Stankonia in Atlanta, not Treesound. We cut Gucci's "The Movie" in the Stankonia B room, others in the A room. The Zac's Stongehenge room is one of my favorites, cut a lot of songs in there, Jim Z was great and I miss our conversations.
super awesome to the max!
Great stuff. I sure miss those LA studios that have gone away.
Hanging at DA's shack across the street circa 88. Reception room 6050 drawing up deals to acquire 670's and M50s circa 91. Renting gear to Oceanway on rare occasion they needed stuff. Friends with staff like Dave n Sean. Watching my cuz drum a sesh in Western 2. Hanging in Western 1 and Ry is in the house... memories that are meaningless in the scheme of things, but for a young musician. Thank you Allen. PS. Advice to the young: 1) Its not a career its a hustle, so work hard and work smart. 2) Don't make any plans.... except to take advantage of every opportunity.
What are those microphones called? I've been seeing them in old radio broadcast pictures, but unable to ID them.
Please enlighten me! 🙏🌼
Wow. This is amazing 😱😱
met Allen several times in munich
✊🏻✊🏻✊🏻
❤❤❤❤❤❤
Could anyone clarify which studio Allen Sides talks about& which was to be bought by Al Schmitt&George Benson ?
♥️♥️♥️♥️
I loved this conversation SO MUCH!!! Learned much and I'm better for it, BUT what the heck is up with the audio quality?!! No one was working a mixing board on this one, and if there was someone they did not do their job. Allen is pretty good with his mic dynamics but Joe and one of the other fellas are overmodulating (clipping) frequently., and it is embarrasing to hear professional audio engineers not even monitoring their own sound while recording a video podcast. Come on guys, you're better than this!
Zappa!
Are the mics overdriving or is it just me?
Maybe so and maybe not... I heard it too and I don't hear that in well produced music or podcasts. They were definitely clipping.
@@JBATahoe The levels on the video are all over the place, and clipped to bits on much of the track. If you're watching this on something that is auto normalizing, it's probably much better, but if not, it's hard to listen to without riding the level. It's just kind of ironic that a conversation about fantastic audio engineering doesn't even stand up to average "podcast" quality. Keeping it real... Absolutely doesn't outweigh the unbelievable information and stories that are being shared.
@@alexandereditsvideoironic
Ironic indeed, but these are guys who are not accustomed to podcasting having grown up and come up in earlier times. I imagine at the time of this video maybe they didn't take it seriously and trusted the audio engineer to handle the levels. I do not envy whoever was engineering that recording though because they must have been thinking, these guys are top of the top audio engineers, who am I to tell them what to do? Something like that. Or maybe someone else dropped the ball but I don't know. I know someone did, because a brilliant conversation marred by overmodulation distortion is unfortunate to say the least. Let's all take better care when we're recording, yeah?
I really hate to say this but the audio levels on Alen's and Joe's mikes are all over the place. Compression, limiting, a better choice of microphone? VERY strange.