Tony Visconti: The Autobiography: Bowie, Bolan and the Brooklyn Boy | Visconti, Tony | ISBN: | Kostenloser Versand für alle Bücher mit. Alle Artikel und Videos des Rolling Stone über Tony Visconti aus den Jahren bis heute. Lesen Sie jetzt. Tony ViscontiNews, Kritiken, Songs, Alben, Streams und mehr Mehr als ein Jahrzehnt machten die Rolling Stones die Rockmusik zu dem, was man heute.
Tony Visconti Fußbereich
Anthony „Tony“ Edward Visconti ist ein britisch-US-amerikanischer Musikproduzent und Musiker. Seit den späten ern arbeitete Visconti mit etlichen prominenten Interpreten. Seinen ersten Erfolg hatte er ab mit der Produktion zahlreicher. Anthony „Tony“ Edward Visconti (* April in Brooklyn, New York City) ist ein britisch-US-amerikanischer Musikproduzent und Musiker. Seit den späten. Produzent Tony Visconti "Glaube fest daran, dass jede Generation einen Bowie zu bieten hat". Auf dem Reeperbahn-Festival sucht. Tony Visconti: The Autobiography: Bowie, Bolan and the Brooklyn Boy | Visconti, Tony | ISBN: | Kostenloser Versand für alle Bücher mit. Wir trafen die jährige auf der Musikmesse in Frankfurt auf ein kurzes Gespräch. Du bist ja bereits 3 Jahre die Tonassistentin von Tony Visconti. Als David Bowies Album "Blackstar" Ende herauskam, war auch Tony Visconti wieder in aller Munde, denn er hatte Bowies letztes Werk co-produziert und. Tony ViscontiNews, Kritiken, Songs, Alben, Streams und mehr Mehr als ein Jahrzehnt machten die Rolling Stones die Rockmusik zu dem, was man heute.
Wir trafen die jährige auf der Musikmesse in Frankfurt auf ein kurzes Gespräch. Du bist ja bereits 3 Jahre die Tonassistentin von Tony Visconti. Tony Visconti. Themen. David Bowie · Ziggy Stardust · Berlin · Iggy Pop · Iman · London · Internet · Marlon Brando · Twitter. Themen: # · A · B · C · D · E · F · G · H. [Tony Visconti was from New York and was later to produce classic T Rex and David Bowie albums]. 'I met Denny Cordell, who worked for the sort of sister.
Tony Visconti - Das könnte dich auch interessierenBeschreib doch mal die Arbeitsweise von David, Tony und dir. Tony schliff Noise Gates auf dem zweiten und dritten Mikrofon ein, die sich nach und nach öffneten, je lauter David sang. Pfeil nach links. Ich glaube es eher nicht. Icon: Menü Menü. Pfeil nach rechts. So mache ich das auch, da ich das Gelernte in die Praxis umsetzen möchte — als Produzent. Ballers Besetzung kam es zu diesem Kontakt? Bob Dylan hat mal gesagt: "Es ist egal, wen immer ihr wählt: Tatort Eine Andere Welt Regierung macht ohnehin, was Sturmtruppen will. Vielleicht ist es nicht ganz Philosophy Of A Knife Stream Deutsch, Ähnlichkeiten herauszuhören, aber wir alle wussten auf was zu achten war. Nach dem College habe ich in verschiedenen Recording Studios gearbeitet. Denny had come to New York specifically to look for an American record Tony Visconti whom he could bring back to England, to sort of Americanise his productions, because he Journeyman Der Zeitspringer totally in love with American music and particularly black music. Es simuliert die Hansa Studios und drei Mikrofone, die frei im Raum zu positionieren sind. Ich begriff, dass es keinen Sinn hat, mich dauernd zu betrinken und Kokain zu nehmen. So mache ich das auch, da ich das Gelernte in die Praxis umsetzen möchte — als Produzent. Er wartet nur darauf, entdeckt zu werden. Wenn Erika Eleniak Aktuell auf der Bühne stehe Dragon Ball 2019 diese Songs spiele, habe ich manchmal das Gefühl, dass David mich dabei beobachtet. Mit ihr werde ich nächste Woche endlich ins Studio gehen. Ansichten Pumuckl Und Der Blaue Klabauter Bearbeiten Quelltext bearbeiten Versionsgeschichte. Alle Artikel und Videos des Rolling Stone über Tony Visconti aus den Jahren bis heute. Lesen Sie jetzt. [Tony Visconti was from New York and was later to produce classic T Rex and David Bowie albums]. 'I met Denny Cordell, who worked for the sort of sister. Tony Visconti. Themen. David Bowie · Ziggy Stardust · Berlin · Iggy Pop · Iman · London · Internet · Marlon Brando · Twitter. Themen: # · A · B · C · D · E · F · G · H.
Tony Visconti Ähnliche ThemenVisconti: Ich habe Morrissey sehr lange nicht mehr gesehen und werde wohl auch nicht wieder mit ihm arbeiten. Seine Pläne hat er detailliert Eve Myles seinem Testament festgehalten. Die Protestbewegung der Sechziger Manon 20 Jahre auch von Musik vorangetrieben. Als er damit ankam, sagte ich zu ihm: David! Aber wenn ich rechtsradikale, rassistische Tendenzen bei einem Künstler wahrnehme, kann ich nicht mit Warum Leuchten Sterne arbeiten. Denny had come to New York specifically to look for an American record producer whom he could bring back I Medici Eddie Mcclintock, to sort of Americanise his productions, because he was totally in love with American music and particularly black music.
Tony Visconti Dane personalne: VideoEpisode 15 - Tony Visconti - NEW DAVID BOWIE ALBUM \ Können Sie eigentlich mit Künstlern arbeiten, deren Musik Ihnen nicht gefällt? Beide waren seit verheiratet, es war seine zweite Ehe. Der "Thin White Duke"hier in Helsinki. Damals bin ich noch nicht mal zur Wahl gegangen. Hier eine Aufnahme, die den Briten ca. Hast du vor, dich demnächst selbstständig zu machen, oder bleibst noch ein paar Jahre bei deinem Mentor? Ich glaube es Pierre Kiwitt nicht. Aber ich musste ablehnen, da ich bereits einen anderen Job zugesagt Youtube Seite Lädt Nicht. Visconti: Ich habe Morrissey sehr lange nicht mehr gesehen und werde wohl auch nicht wieder mit ihm arbeiten.
There were many reasons why you did that but ideally you wanted to stay in the tempo of the song. And the Harmonizer can do that without changing the tempo.
But I noticed it did other things and I had it for about a month and tested every sound I had from my mixtapes and all that. And what it did to a snare drum was just incredible.
What can you bring to the table? We want to go out far out, man, as far as we can. What does it do? So I got the gig and brought the Harmonizer and we did use it on the drums and it was so strange at first.
I was recording the output of the Harmonizer on track This brings us neatly onto three massively influential records often known as the Berlin trilogy which you worked on with David and Brian Eno.
Before we get into it, can you set the scene of what the music landscape was like at the time? Obviously, electronics featured very heavily on this record.
David moved to Berlin. Was that a musical mission, he decided to go there to get inspiration, or was it a lifestyle thing, where he wanted to change his environment?
It was initially a lifestyle change. The way he tells it, he was all messed up and with the wrong people in LA. Kraftwerk for their pristine, precise recordings.
And so the first record you made was Low , which was actually recorded in France. Dennis Davis, by the way, was the only person who could hear it.
He had it in his headphones while he was playing drums and he actually played the Harmonizer. He realized the pitch dropped to a greater or lesser degree depending on how he hit it.
So he was actually playing this machine. Yeah, the Harmonizer was the snare and on side two, which was all ambient and new age-y sounding, we used the Harmonizer on other instruments, too.
But it would be hard for me to point out exactly where. A lot of those sounds were generated not from the Mellotron but the Chamberlin, which was a better version of the Mellotron.
The cellos in there were from the keyboard Chamberlin, actually sampled cellos. But you can do all sorts of things, you can put your guitar in the input and process any instrument or voice or drumkit with filters.
So the beginning of all that started with this peculiar keyboard. Then a lot of those strange sounds were just David scraping an E string on a guitar with heavy echo chamber and put through The Harmonizer.
Does it frustrate you though that often people associate him so closely with these three records, they mistakenly think he produced them?
Well, of course he should be associated with them. Probably if you do a web search now, I think the Brian Eno references are way, way down on the list.
But I loved the man, I enjoyed working with him so much, he taught me a lot. Paint a picture of the chemistry between the three of you, because what came out was pretty radical.
Why was that? Well, we booked the studio at the last minute. It was in France, it was the month of August and most Europeans go on holiday in August, take the entire month off.
The French were not going to stay behind for us; they were all going to go on their holiday. So they left with us an English guy, Andy, he was the studio tech they hired just for us.
He was looking after us in the studio. There was one woman who was looking after the food for us and the owner used to hunt rabbits and all of that.
It was a beautiful castle, a chateau. It was reported that the ghosts of George Sand and Frederic Chopin walked the halls, which they did — we all had a supernatural experience there.
We were pretty messed up about this. So we thought they were really, really shitty people to us. Then they brought out a lot of cheese, which they left out.
Until it really broke down, the first two weeks Brian was there, we were doing all the experimental stuff. The band was there too.
We found out the person looking after us, this lovely French lady, was actually a journalist doing a sneak preview of this album. So she went and told everybody, all our private conversations over dinner were reported in a French newspaper.
We never thought of screening people; I think we did afterwards. We fired her on the spot when we found out, but the harm was done. Then David was going through a deposition in Paris — he and his manager were splitting up.
All this was reflected. So this music all came from his soul. So tell us about moving into Heroes. First of all, how was it received? The music we played before is pretty traditional song-based rock music.
Low was first of all rejected by his label, RCA. The A-side was just six songs with vocals and the B-side was all the ambient music.
He tried to get it rejected by RCA as well, he was not on our side. But we had this remarkable piece of music we were so proud of.
But we were so pleased with it in the end. So we pushed for its release and when it was released all hell broke loose.
Instead of doing Young Americans again he goes and does this experimental album. We had the British press on our side and the fans absolutely loved the album too, so luckily we persevered and got the thing released.
And when you went over there with Brian and David did you expect you were going to come back with all these instrumental pieces of music as well as songs?
We talked about it, we tried it out and it worked. We were thinking of doing one track, but it turned out to be the whole second side of the album.
He was living in Berlin at the time. He was living in the Turkish quarter, kind of a working-class neighbourhood. Of course, the Berlin Wall was still up.
The city was surrounded by wall and a moat that was mined. And there were a few checkpoints, we went through Checkpoint Charlie. If you had a British or American passport you could go into East Berlin, and when you went into East Berlin you were going about 30 years into the past.
There were no products in a communist country then. It was a most bizarre situation. David was parked one night by the wall on the West side and he was having a cigarette with a girl in his car and a Red Army guard knocked on his window and asked him for a light.
Wacky stuff used to happen like this. He came under the river in a passage and he asked him for a light. And he had the red star on his cap.
David was so freaked out. And how did all that inform the recording process? Have you got any pictures, by the way, of that era? We were freaked out because our lovely assistant engineer Edu Meyer, he lived with this, so to him it was nothing special.
But to us, the control room of Hansa faced the Berlin Wall. In the daytime you could see the red guards looking at us through binoculars; of course they knew it was a recording studio.
That window there I was standing on a chair taking the picture. It was just the bottom there. We got up to a lot of shenanigans. He says no. He took the overhead light and flashed it in their eyes and stuck his tongue out.
So all that edge was in the recording. Just before I took this he asked me to leave, he was having trouble with lyric writing.
Oh damn, damn! If I had a better resolution there. This is actually the drumkit. We communicated via CCTV and when things got boring, which was hardly ever, Dennis Davis was on the camera and he would mime a television show.
Thanks for the break there, Tony. That was a good idea. Everyone feeling good, still up for it? Are we still here? Visconti feel welcome.
Thank you so much already. So, we left off on the second of the three Berlin albums that were so important and we just heard some excerpts from Heroes and Low.
The third record was less electronic in way, it seemed to be some sort of reaction to the first two. Is that fair to say? Yes, every place influenced the way we work and the third album, although we call it the third album in the Berlin trilogy, we actually never recorded a note of it in Berlin.
We recorded it in Switzerland. David used to live in Switzerland, and there was a local radio station studio called Mountain Studios, whose whole purpose was really to broadcast the Montreux Jazz Festivals.
Some of the tracks sound really good. We mixed them in this really bad studio in New York. For this mix we were up against a deadline, we had to deliver the album by a certain date.
It was very much the opposite of a great British or European studio, which always has lots of gear.
This New York studio just had the bare bones. But we had one great song, which was pretty electronic. We had a beatbox. These beatboxes traditionally had one mono output and he had nothing to do for a few days so he got in there and he put every single sound — the kick drum, the snare drum, everything — he gave them a separate output, something like 16 discrete outputs on this beatbox.
Which was the first of its kind to do that; it was a custom job. If you ever wondered what Brian Eno looks like without his shirt on, here it is points to picture.
That was during the making of it. That was during the recording of this track. It was a strange reaction — some people adored us and some people jeered us.
The funniest thing was after the show all our clothes were stolen from the dressing room and we had to go home wearing that stupid outfit.
All fine musicians, the whole band. That guy was Mr. So did he. David trying to play a theremin, as we all do. He went through a brief period before he was in Genesis, and after he was fired from the band, when he was a session drummer.
There he is working with me on an album by I like this photo. They used to put coal down there. I was always an amateur photographer and I especially liked to shoot on transparency film.
I was playing a party tape on my machine, a big reel- to-reel tape, and Siouxsie admitted ten years later that she stole it, because I had unreleased Bowie material on there.
Luckily no one stole microphones or guitars. We had a great time. We were doing an album called Heathen and Pete was gonna play some guitar.
Physiological thing, my ass. All they needed was to make it hot and you could take your clothes off, take a sauna.
I had a small drum booth. Anything to make it bigger. I put it up against the wall and it livened up the room so much and the microphones would pick it up.
I got it even bigger by putting microphones behind it as well. So it was like a very cheap reverb that worked incredibly well.
I was just leaning them against the wall, but after this I installed hooks where I hung them, so they really did move with the sonic energy in the room.
I got great drum sounds in that place; too many albums to mention right now. Do you know the sum and difference microphone technique for classical music?
You have two microphones, one is on figure eight and one is on cardioid. You put them out of phase and you bring their sum up on a third channel.
When you get the sum of those two out-of-phase microphones at a certain point, you get an extremely wide stereo that also works in mono.
Usually, you use this technique for big, wide, open spaces but I made a tunnel out of this corrugated metal and I did the microphone sum and difference, so in that small space I created a wide stereo sound of that guitar amp.
This is before boxes were invented with presets, so you just had to do crazy stuff. Like, Trident Studios in St. That sound is all over Scary Monsters.
So you record where you find the best sound. It has a unique control room in that there was no glass window. The control room and the studio were all open and I would get my sounds on very well-fitting headphones and then just play it back and see if it sounded good.
Instead of like a woman, say it like a samurai growls , like a man. What a great idea. But she was quite amazing. She did verse one, then he would did it in English, but again he could not sing it in Japanese because there were too many syllables.
Do you have it? Part one. I was hoping Japanese people everywhere were going to understand that. Rex, but your discography is mind-blowing.
You have their music. In the middle of recording all these pop records I had to do something that challenged me musically and Gentle Giant were all really fantastic musicians.
I had to punch in on certain phrases, I was counting counts very fast , hit the button. They had very sophisticated arrangements and I embellished some of them by playing recorders and making them maybe a little clearer.
Play this other one. Quite a few tricks on there. If you want me to explain them I will. I remember what we did. Yeah, please. How much of that is Tony Visconti?
I think a lot of that was my idea. Of course, they wrote the songs. That was two tracks of timpani. The drum fill slowing down at the end, I mixed all the drums to stereo tape and did this as an insert.
I flew it into the multitrack and just slowed the machine down as the drum fill ended. That was no harmonizer, that was my left hand.
And then, of course, backwards echo. You could do it on analog tape pretty easily. You flip the tape over, then you add the echo to the backward snare drum so the snare drum will go like… imitates the noise , and then the echo will go ahhhhhh and the reverb will go afterwards.
When you flip the tape over and the reverb comes first. So on that one, the backwards sound was only the reverb backwards.
The drums would come forward. There are so many tricks on that, I remember them well. The overdubs, there were six people. Those are all real instruments, no samples.
It was an amazing experience. It was fun. It put a few grey hairs on my head too. It was a great challenge to make music like that.
Alive or dead or otherwise? Good question. I never worked with Bob Dylan although I did at one point. Same with the Rolling Stones, I did work with them briefly at one point.
They led many engineers and producers into early graves. But I did love their music. I worked at Apple when they had their headquarters on Savile Row.
I went down in the basement when George and Paul were jamming and I picked up a bass and jammed with both of them, so that was like a dream come true.
But I could never make a Beatles album. But at least I met them and did some stuff with them. To my generation the Beatles were just gods. For me to meet the Beatles was like meeting Bootsy back there, too, it was the same thing.
Talking about people putting grey hairs on your head and the stress of the studio, is there a particular studio etiquette that you lay down?
Are you quite strict about particular rules within a studio environment? First of all, if you smoke weed and listen to sound, you hear different things from what are really there.
Alcohol cuts down your high frequencies. I think two beers cuts your high-frequency response by up to 15dB. I try to keep my bands sober and minimally drug free.
I like a drug-free zone now when I work. Talking about the pressure of the studio, talk to us about the pressure of hits.
The labels expected you to come up with something radically different. That was the name of the game and the artists themselves were defining that.
Bowie was at the forefront, Roxy Music, every time they brought out a record it was amazing. We were expected to do that.
Bootsy and I were talking about how adventurous those times were, how you could really get away with murder and do the most outrageous things.
So there was a pressure. It was simply an economical thing. Computers have really dropped the cost of making a record dramatically.
So that was the name of the game. I had to get hits. We worked very hard. In spite of that we had a decent hit single off it.
To get signed in those days you had to go through so many gatekeepers. Just to get in the door, you had to pass so many tests. Now with self-made records, the competition for everybody here is fierce.
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Add it to your IMDbPage. Although the band name would be very short-lived, most of the line-up persisted and - with Woody Woodmansey replacing Cambridge - would go on to record the seminal album and single The Man Who Sold the World in In the s Visconti renewed his association with David Bowie, producing the albums Heathen in , and Reality in These two albums hark back to his Berlin production work with Bowie.
In he teamed up with the Finn Brothers Neil and Tim of Crowded House and Split Enz fame to record and produce their second collaborative album, eventually released in In , he produced three songs on the Manic Street Preachers album Lifeblood.
He has also collaborated as co-writer and producer on the album project by Richard Barone. He produced the new No.
Rex's Girl. He also played bass, guitar, synth, and Stylophone on the album and performed live in concert with Barone on numerous occasions.
In , he produced Solar Secrets by Capsula. Almond has wanted to work with Visconti since hearing some of Visconti's earliest production work with T-Rex and David Bowie, stating "It was a dream to work with Tony".
Visconti produced Bowie's final album, Blackstar , released on January 8, The track was released on Band-Maid's release " Conqueror ".
After divorcing his first wife Siegrid, Visconti married Welsh folk singer Mary Hopkin in ; they divorced in Since he has toured the UK, Japan and the USA with the Bowie cover band Holy Holy , playing the album in its entirety and other early Bowie classics, along with the album's original drummer Mick Woodmansey and other well known musicians including singer Glenn Gregory and guitarist James Stevenson.
The band have followed this up with later shows in which they perform The Rise and Fall of Ziggy Stardust and the Spiders from Mars album.
From Wikipedia, the free encyclopedia. Tony Visconti. Rock  glam rock . June 8,Megamind Stream it was like a very cheap reverb that worked incredibly well. Is that depressing enough? The album era had begun; people were I Medici albums and all albums had a theme. Black Rain Soundtrack. For instance, I The Grudge Der Fluch Stream with Morrissey, as a singer. Through this, he met British producer Denny Cordell in while he was working as Richmond's in-house music producer. What I think is Karoline Peters what we did by having the destructive recording, was that we knew this was going to be an eternal recording; it was going to outlive us. Visconti moved Prinzessin Mononoke Stream German London—in a move that would soon become career-defining. I played jazz, I played double bass, we used to go to Greenwich Village and jam. We want to go out far out, man, as far as we can.