Was Here, The No Nukes Concerts, Live Aid, Jackson Browne’s Running On Empty, and Neil Young’s Live Rust are just a few of the hundreds of live releases that he recorded with his customized remote trucks. David Hewitt was responsible for a large portion of these records: Peter Frampton’s Frampton Comes Alive!, Aerosmith’s Live Bootleg, Eric Clapton’s E.C. The Concert for Bangladesh was one of the first concert events to be recorded by a multitrack recording-equipped remote truck, and it set a template for many iconic live recordings throughout the 1970s. Prior to 1970, live recordings were primarily done in mono or stereo, with limited use of multitrack recording in the studio, and, in some situations, for television. His YouTube series, which features equipment and microphone comparison shootouts, breakdowns on the production of popular records, and loads of engineering and production tips, made Huart an ideal person to moderate a Q&A with David Hewitt, who captivated the AES audience with his tales of being on the road, a number of which were not included in his recent book, On the Road: Recording the Stars in a Golden Era of Live Music ( reviewed in Copper 170). Part Two continues with coverage of presentations from Produce Like a Pro’s Warren Huart and live concert multitrack recording pioneer David Hewitt, and Q&As with the legendary Bob Clearmountain and the inimitable Tchad Blake as part of the Mix With the Masters program hosted within AES 2022 New York.īest known for Produce Like a Pro, his YouTube educational series on music production and engineering, British producer/engineer Warren Huart has also amassed an impressive list of album credits that include The Fray, Aerosmith, Korn, Colbie Caillat, Ace Frehley, the Ramones, and others. Part One of our AES Fall 2022 New York coverage (in Issue 176) referenced new gear showcases from companies like Neumann, Solid State Logic, Avid, and others, as well as a look at presentations from producer/engineers Susan Rogers and Jack Antonoff. After two years of only streaming of their biannual New York show online due to the pandemic, the Audio Engineering Society (AES) returned to their live event presentation format at the Javits Center in October 2022, and it was a resounding success.
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