These are the sources and citations used to research Does Butch Vigs' Production Style Have A Sonic Signature?. This bibliography was generated on Cite This For Me on
The concept for the band originated from Butch Vig’s early remixing work with Depeche Mode and Nine Inch Nails. He would “erase everything, except for the lead vocal and then record all new parts
In-text: (Artist Spotlight: Butch Vig, 2012)
Your Bibliography: Artist Spotlight: Butch Vig. 2012. [video] Vic Firth.
Kurt had no patience for doing anything more than a couple of times fuller and a little bit richer I had to use the John Lennon reference; every time he’d resist I’d say John Lennon did it Two tracks of the Mesa Boogie, two tracks of the Fender Bassman and one track that we called the super grunge an orchestral sound
In-text: (Classic Albums: Nirvana - Nevermind, 2005)
Your Bibliography: Classic Albums: Nirvana - Nevermind. 2005. [DVD] USA: Eagle Vision.
They would go into the big room and cut the song live. But what I was really trying to keep was Jimmy’s drums. And then we would go back and overdub everything. Billy, on the other hand, is more of a perfectionist. He would work on a section of a song for hours or a solo section or whatever.
In-text: (Crestfallen.com | Butch Vig talks about working with the Smashing Pumpkins, 2013)
Your Bibliography: Crestfallen.com. 2013. Crestfallen.com | Butch Vig talks about working with the Smashing Pumpkins. [online] Available at: <http://www.crestfallen.com/2013/06/19/butch-vig-talks-about-working-with-the-smashing-pumpkins/> [Accessed 26 November 2014].
"Butch said,” Grohl remembers, "'If we run into any real trouble we can always dump it into Pro Tools.' I said, 'No no no no, dude. No fucking computers. Not one computer. None”.
In-text: (Doyle, 2011)
Your Bibliography: Doyle, T., 2011. Foo Fighters: Recording Wasting Light. [online] Soundonsound.com. Available at: <http://www.soundonsound.com/sos/jun11/articles/foo-fighters.htm> [Accessed 7 November 2014].
This made it more real in a way because you realise it all had to be about capturing the performance. With the Foos the sound of the garage - it is what it is. You can EQ and compress a little in the mixing, but it wouldn't change the sound profoundly. That was good in a way because from day one we knew the sound of the drums
In-text: (Foo Fighters: Back and Forth, 2011)
Your Bibliography: Foo Fighters: Back and Forth. 2011. [DVD] USA: James Moll.
They were loose and spontaneous, and the band played with a drunken swagger unlike anybody else I have ever recorded. There were no restrictions other than small budgets, which was good because we had to work FAST.
In-text: (Killdozer time! - Gearslutz.com, 2009)
Your Bibliography: Gearslutz.com. 2009. Killdozer time! - Gearslutz.com. [online] Available at: <https://www.gearslutz.com/board/q-butch-vig/399268-killdozer-time.html> [Accessed 15 September 2014].
one of the most difficult albums I remember some songs like Hummer and Soma had so many parts, I had to make "guitar maps" for us to remember how to approach the mix.
In-text: (1993 Smashing Pumpkins - Siamese Dream - Gearslutz.com, 2009)
Your Bibliography: Gearslutz.com. 2009. 1993 Smashing Pumpkins - Siamese Dream - Gearslutz.com. [online] Available at: <https://www.gearslutz.com/board/q-butch-vig/398145-1993-smashing-pumpkins-siamese-dream.html?highlight=smashing+pumpkins+butch+vig> [Accessed 26 September 2014].
“We did a process where we'd do cleaner guitars — like a Tele — as a left-right pass all the way through the song.” “typically miked two of Armstrong's 4x12 cabinets with two mics each: The first might have a chain that included a 57 and a Royer 121 ribbon, through Chandler Germanium preamps and EQs summed to one track though an Altec 1567A tube mixer; the other would have a 57 and a 414 through 1073 preamps treated the same way.” “When we were doing the first couple songs and getting the template together, we would put up American Idiot so we could compare that we were in the same ballpark or killing it. So we might use that as a start point tone.”
In-text: (Jackson, 2009)
Your Bibliography: Jackson, B., 2009. Music: Green Day | Mixonline. [online] Mixonline.com. Available at: <http://www.mixonline.com/news/profiles/music-green-day/366107> [Accessed 7 November 2014].
“I wanted to move away from the traditional live approach,” he says. “It was very liberating to be able to use computers to do music and remixes.”
In-text: (Jorgl, 2009)
Your Bibliography: Jorgl, S., 2009. Audiohead.net - Interviews - Butch Vig. [online] Audiohead.net. Available at: <http://www.audiohead.net/interviews/butchvig/> [Accessed 4 November 2014].
Those are all natural performance dynamic elements which come about when a band is playing simultaneously, because they're unconsciously accommodating each other while they're playing.
In-text: (Matera, 2011)
Your Bibliography: Matera, J., 2011. Steve Albini: 'I Came To Respect Nirvana As Artists During The Making Of In Utero' | Interviews @ Ultimate-Guitar.Com. [online] Ultimate-guitar.com. Available at: <http://www.ultimate-guitar.com/interviews/interviews/steve_albini_i_came_to_respect_nirvana_as_artists_during_the_making_of_in_utero.html> [Accessed 10 September 2014].
purity of artistic form”
In-text: (Nirvana – A Classic Album Under Review – In Utero, 2006)
Your Bibliography: Nirvana – A Classic Album Under Review – In Utero. 2006. [DVD] USA: Thomas Walker.
In Garbage, we like to have a lot of layers to the song; sure, there's the main groove, bass, guitar, and Shirley's vocals, but there are also all these textures that we like to put in “When you start running them through compressors, effects boxes, and plug-ins like Trash—that extra compression and distortion really brings out that room sound, the ambient sound, and brings a lot of character to the recording.” “trashy, roomy” “On Garbage tracks, there are usually both of those things going on at the same time; it just depends on what instrument you're listening to.” “It's fuzzy and scrappy sounding, but it feels really passionate in the performances.” “I wanted to put the sound right in your face—we didn't want anything to sound three feet away, or five feet or ten feet”
In-text: (Rotondi, n.d.)
Your Bibliography: Rotondi, J., n.d. Butch Vig: 20 Years After Nevermind. [online] Izotope.com. Available at: <https://www.izotope.com/en/community/artists/recording-artists/butch-vig> [Accessed 10 September 2014].
“I think the very best thing you could do at this point is exactly what you are talking about doing: bang a record out in a couple of days, with high quality but minimal “production” and no interference from the front office bulletheads I do not consider it my place to tell you what to do or how to play
In-text: (Read Steve Albini's Four-Page Proposal to Produce Nirvana's 'In Utero', 2013)
Your Bibliography: SPIN. 2013. Read Steve Albini's Four-Page Proposal to Produce Nirvana's 'In Utero'. [online] Available at: <http://www.spin.com/articles/steve-albini-nirvana-in-utero-four-page-letter-produce/> [Accessed 24 September 2014].
When asked the best way to get the drum sound on Nevermind, Vig humorously responds, “…get Dave Grohl to play Drums at Sound City!” He extended Grohl’s kick drum (an ’80s Tama Grandstar) with a roughly 6-foot-long tunnel built from old drum shells. The kick was then miked with an AKG D12 close to the beater, and a Neumann FET 47 at the end of the tunnel
In-text: (Traba, 2014)
Your Bibliography: Traba, J., 2014. How'd They Get That Sound: Butch Vig and Masterminding Nevermind's Kick-Drum Sound. [online] explora. Available at: <http://www.bhphotovideo.com/explora/audio/tips-solutions/how%E2%80%99d-they-get-sound-butch-vig-and-masterminding-nevermind%E2%80%99s-kick-drum-sound> [Accessed 6 November 2014].
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