I said, “All right guys, we’re gonna take that down and try the Soyuz.” I got to the studio in Las Vegas and they had a Sony C800 already set up. So I packed it up and flew out to start vocals not knowing what I was getting into. Kevin Richardson records vocals with the 017 TUBE I got it and plugged it in, and with just me talking into it I thought, “I want to tell a story or something right now. We were actually sitting in the studio doing percussion overdubs on the song and I was thinking about vocals and said, “Man, I’m just gonna buy one.” I had never used one and had no idea what I was getting into, but just went for it and hoped it would work. …if I’m going to buy something, I want to be able to know that it’s going to make a difference Every impression I got - and feedback from people to things I was reading online - made me feel that the 017 TUBE was a game-changer and could make for less work for a greater vocal sound. You know? It needs to be audibly better than what I’ve been using. So if I’m going to buy something, I want to be able to know that it’s going to make a difference. I’m not a super technical engineer I’m not really into every new piece gear coming out. I don’t know what it is about it, but it is magic.” I kept hearing people say things like that. I have a good producer friend in Nashville, Brad Crisler, who had called me several times saying, “Man, this microphone is magic. I started hunting around online and started to see things about Soyuz and the 017 TUBE and heard rumblings from friends. We had some microphones here that we had used for several years that, for the most part, made us fairly happy, but I just felt that on this project - being of the magnitude that it was - I was ready to try something else something that I would be even more happy with. To give you a little background, The Backstreet Boys had hired Gary to produce and we knew we would be doing some traveling because there are five guys in the group and it’s hard to get them all at one place at the same time.
How did you come across Soyuz? How did you discover the 017 TUBE? Now I primarily mix, but still will do tracking of stuff that is interesting to me or what Gary is doing as a producer. He ended up selling the studio to the University of North Alabama, though he still has his office and I still have my mixing room inside the building. So for the next several years I did all of Gary’s projects. You think you kind of know what you’re doing until you get thrown in the fire. You think you kind of know what you’re doing until you get thrown in the fire.Įventually, he gave me a shot to be his staff engineer I didn’t really have the experience at the time. So I got to be here from the beginning and got to be friends with Gary and the other staff songwriters at the time and made myself super useful as an intern. It was built by Michael Cronin, who has built studios all over the world. He was building a studio in downtown Florence at the time I interned with him and I got to see a multi-million dollar studio being built. John Michael Montgomery and All-4-One, you know, a massive song. Gary is a Grammy-award-winning songwriter for his huge song, I Swear. So there are a lot of studios here and I did my internship with a guy named Gary Baker. I’m technically in Florence, Alabama but that’s about a football’s throw away from Muscle Shoals, which of course is known for its huge and rich music history. I got turned off from the touring life pretty quick. I can go back to the studio and everything stays set up.” You don’t have to deal with that junk every day. Yeah, exactly! I mean, we went on tour and I’m stuck with five guys in a Ford Expedition, gas is $4 a gallon that summer… and ya know, I’m thinking, “I’m not sure this is the life for me. Coming from the band side of things, that first studio experience is intoxicating! You discover how fun it is to craft sounds in this new way. That actually became my passion for playing music.
#BACKSTREET BOYS I WANT IT THAT WAY VK HOW TO#
So I was at school to learn how to record and all that kind of stuff, and basically ended up living in the studio there and just absorbing everything I could. I went to school at the University of North Alabama to pursue the engineering side of music and I was still kind of playing in bands and still kind of thinking that was gonna work, but over the course of my time at UNA, I realized the engineering aspect was more interesting to me than actually playing. which was probably a terrible plan B, but my parents encouraged me. As a kid growing up, in high school, that’s what we all wanted to do. You know, I think like most people I grew up playing in bands, all that kind of stuff, and my plan A was to be the guitar player in a band. What is your background? How did you get into the world of production and recording?
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