Q&A with multi-platinum rock producer Michael Wagener.

[ke2]

Hi Michael,

I'm proud and stoked that you're still using one of the MTS modules I did for you (this is Pete Turley, btw)

If you would like, send me a pm here or email me at okstrat@cox.net listing the modules I did for you that you are NOT using for recording and what changes would make them useful again - I'd be more than happy to update/mod them as needed. I'd like to have more than one module I modded for you in rotation again.

BTW, I have a soldano mod that kills... I think you'd dig it. If you have a spare Ultra, Ultra XL or scary module send it to me and I'd be glad to give it my 'slodano' mod for you to check out.

Pete

Pete, must have been a misunderstanding. I use ALL of your mods, there is none I would want to miss or to be changed.

Now THAT'S cool

 

[stratotone]

Hi Michael,

I'm proud and stoked that you're still using one of the MTS modules I did for you (this is Pete Turley, btw)

If you would like, send me a pm here or email me at okstrat@cox.net listing the modules I did for you that you are NOT using for recording and what changes would make them useful again - I'd be more than happy to update/mod them as needed. I'd like to have more than one module I modded for you in rotation again.

BTW, I have a soldano mod that kills... I think you'd dig it. If you have a spare Ultra, Ultra XL or scary module send it to me and I'd be glad to give it my 'slodano' mod for you to check out.

Pete

Pete, must have been a misunderstanding. I use ALL of your mods, there is none I would want to miss or to be changed.

Now THAT'S cool

Tell me about it! Thanks Michael, you've made my month.

Pete

 

[MICHAEL WAGENER]

Hy Michael,

Im David Nagy, born and raised in Budapest, Hungary now living in Costa Mesa,CA. Im a fan of your works and I hope it feels good that your works are popular in Eastern Europe as well. For me the best sounding album ever is Ozzy's Ozzmosis. As far as I know you recorded the album in Paris, France and New york (?). Would you be so kind sharing some memories about the sessions? Especially recording Zakk's guitar? I really like his clean/chorus and overdrive sound on See you on the other side.

Anyway, nice job, keep up the good work!

Hello David
Thanx for the kind words, but unfortunately you have the wrong information. I originally produced and mixed 7 songs for Ozzmosis, but then the label wanted to go a completely different route from what they had asked for originally (which is the same sound as "No More Tears", which I mixed). Michael Beinhorn produced (and engineered?) the Ozzmosis version that is available on CD. As far as I know, Zakk is not even playing on it, nor is Randy Castillo or Michael Inez and they re-recorded the whole album with different musicians. The only songs available that I originally produced are "Amy" (on the original Ozzmosis, second release) and "See You On The Other Side" on the "Best Of..." under "demo". I have another 6 tracks from the original production and if you can make it to my studio I will play them to you side by side and you pick which ones you like better. Ozzy said on the "Best Of" that he liked the originals better and that this is the way Ozzmosis should have sounded.

 

[Khoi]

Hi Michael,

This is more of a biographical question, but how did you get started in the music business, to opening your own studio? I couldn't even imagine getting into the industry nowadays, it seems there is so much competition and so much talent out there, it'd be hard to set yourself apart. I just like learning about how successful individuals get started and how they get to where they are now. I understand that this is a pretty big question to answer, but if you already have some sort of interview/article telling your story, that would suffice as well.

Thank you for your time, and I've gained a wealth of knowledge from this thread already


edit: nevermind, I answered my own question by browsing your site! http://www.michaelwagener.com/html/bio.html

 

[MICHAEL WAGENER]

Hi Michael,

This is more of a biographical question, but how did you get started in the music business, to opening your own studio? I couldn't even imagine getting into the industry nowadays, it seems there is so much competition and so much talent out there, it'd be hard to set yourself apart. I just like learning about how successful individuals get started and how they get to where they are now. I understand that this is a pretty big question to answer, but if you already have some sort of interview/article telling your story, that would suffice as well.

Thank you for your time, and I've gained a wealth of knowledge from this thread already


edit: nevermind, I answered my own question by browsing your site! http://www.michaelwagener.com/html/bio.html

 

[davidnagy]

Dear Michael,

Thank you , for your kind answer. Im sorry for being wrong on this. I have the demo version of See You on...with the saxophone on it on Ozzy's Prince of darkness compilation. That is nice. If you can share some of the stories behind recording them (gear, mic) i think a lot of us would be happy. And im absolutely on it to visit your studio. Hopefully with my band, recording an album with you. (This whole business run on dreams, isn't it?)

Best wishes,

David

 

[JonVengeance]

This thread is awesome.

I want to say thanks to Michael for being a great guy. My old band Fierce Allegiance went down to Nashville to have Michael mix three songs from our album because it's all we could afford at the time (we were pretty young). It was amazing hearing stories about the musicians my band members and I idolized. Seeing Wolf Hoffmann taking care of his animals was crazy too. I think Michael's studio was on Wolf's ranch. Michael was a great host; he even took us out to diner a few times. I remember going to an awesome sushi restaurant in Nashville that he said he took George Lynch to. It was also fun to ride in Michael's Lincoln Towncar as he raced around the Tennessee highways. I have some great memories from that week we were down there.

Thanks a lot Michael.

 

[Robby G]

MICHAEL,

I was, (am) a huge fan of Brian May and saw that you were involved with the Sheer Heart Attack album, specifically "Stone Cold crazy". Did you track with Brian and if you did, what were some of the specifics there, mic's placements, and amp's The little recording amp or vox? Etc. Brian May's guitar voice is so freakin unique it oozes cool. Unbelievable live as well.

Kings X Ogre Tones absolutely rules as well. I recently had Ty master my solo project, and asked if he would have the Ogre Tones sound, vibe is his mind!!!!

Thanks,
Robby

 

[MICHAEL WAGENER]

Michael, aside from getting a great sounding acoustic guitar, any tips for getting the most out of recording with just an acoustic (mic, preamp, etc.)

I'm currently using a SM57, MXL 4000, into Presonus Audiobox USB, into Studio One (was using Tracktion 3.) Guitars are a Takamine EF508KC and Yamaha APX900.

Thanks,

Roy

Roy

Recording acoustics is where it gets expensive. I just tracked a 12 string acoustic with a Lucas CS-1 and a Sennheiser MKH800 twin through a LaChapell mic pre (Lucas) and two channels of the GML 8304, sounds like a million bucks, but also costs close to it

I would probably go for a condenser mic rather than a dynamic. I have a great results with the Miktek C-5s as well as the Mojave MA200. Use the cleanest and fastest mic pre you can get your hands on.

 

[defpearlpilot]

This is an amazing thread! Looks like I picked a good time to visit the forum. Thanks Michael for sharing your experiences!

Andrew

 

[freeballinusa]

Yeah, Thanks Michael Super inspiring Just your attitude I guess____

I have a CS-1 also I think it's a nice mic too, You have to try the Bock 5 zero 7 if you haven't it's certainly a show stopper! I just wish they still made new MD 409 haha
Aside It has been a treat to have the records thxxx
john kuker
seedyunderbelly
***Also truly stunned a bunch of that stuff was MP1 and FINGERS WHOA

 

[MICHAEL WAGENER]

Michael,

Many men still think Under Lock & Key was recorded with a Rockman. I don't believe them since I always thought Yngwie Malmsteen used a Rockman for the 1984 Alcatrazz recording. When I personally asked Yngwie, he said no, it was a Marshall. I had a Rockman X100 in the 80's, it sounded just like Under Lock & Key and Alcatrazz.

No Rockman on ULAK, just the Fostex 4 track

 

[Jimmie]

Yeah, Thanks Michael Super inspiring Just your attitude I guess____

I have a CS-1 also I think it's a nice mic too, You have to try the Bock 5 zero 7 if you haven't it's certainly a show stopper! I just wish they still made new MD 409 haha
Aside It has been a treat to have the records thxxx
john kuker
seedyunderbelly
***Also truly stunned a bunch of that stuff was MP1 and FINGERS WHOA

The Bock will set you back a cool $6.6k (on sale at sweetwater) is it really that good?

 

[audiomichael]

Yeah, Thanks Michael Super inspiring Just your attitude I guess____

I have a CS-1 also I think it's a nice mic too, You have to try the Bock 5 zero 7 if you haven't it's certainly a show stopper! I just wish they still made new MD 409 haha
Aside It has been a treat to have the records thxxx
john kuker
seedyunderbelly
***Also truly stunned a bunch of that stuff was MP1 and FINGERS WHOA

The Bock will set you back a cool $6.6k (on sale at sweetwater) is it really that good?

Yes. I have a Bock 251. The Bock mics are THAT good . Now before anyone sells their car to get one... be aware.

Mic's like that are SUPER high-fidelity. Meaning, they let ALL of the beautiful sound in. AND all of the crappy sound in. It's gonna be an incredible representation of crap though. So if your guitar and room and mic pre aren't excellent, be aware!!!

 

[petejt]

Damn I missed this!


What I would have liked to ask- is what was the specific recording process & guitar setup for Metallica's song The Thing That Should Not Be? There's some odd phasey swirling/modulation on the rhythm guitar tracks I think- is that true?

 

[MICHAEL WAGENER]

Damn I missed this!


What I would have liked to ask- is what was the specific recording process & guitar setup for Metallica's song The Thing That Should Not Be? There's some odd phasey swirling/modulation on the rhythm guitar tracks I think- is that true?

petejt

I did not record MoP, just mixed it, so I can't attest to what happened during recording. The swirly sound you hear is a Lexicon Prime Time 93 (the older gray colored ones with the Jellybean looking sliders). I used those a lot for phasing/flanging type sounds. hey can be very subtle but still effective in thickening a sound. This one was also used on "Balls To The Walls", which only had two rhythm guitar tacks and then I added the Lex in the choruses to make it bigger.

 

[MICHAEL WAGENER]

The Bock will set you back a cool $6.6k (on sale at sweetwater) is it really that good?

I have a Bock/Soundelux ELUX251 (one of the first ones made), and I absolutely love it, yes it is absolutely worth what it costs. I tried the 5 zero 7 and I wasn't too crazy about it, but there might have been something wrong with it, I heard it went in for repair after we had it on the session.

My absolutely favorite for acoustic (and vocals) is the Lucas CS-1, not sure if they are still available, because they only made a certain amount. I am looking forward to hearing the Lucas CS-4, but I am not sure if my wallet wants me to go there...

 

[Jimmie]

The Bock will set you back a cool $6.6k (on sale at sweetwater) is it really that good?

I have a Bock/Soundelux ELUX251 (one of the first ones made), and I absolutely love it, yes it is absolutely worth what it costs. I tried the 5 zero 7 and I wasn't too crazy about it, but there might have been something wrong with it, I heard it went in for repair after we had it on the session.

My absolutely favorite for acoustic (and vocals) is the Lucas CS-1, not sure if they are still available, because they only made a certain amount. I am looking forward to hearing the Lucas CS-4, but I am not sure if my wallet wants me to go there...

Thanks Michael, given your success, what factors do "you" weigh when considering making an investment to upgrade the arsonel of amazing gear and equipment you currently own? As I mentioned before, there is so much hit and miss in matching up the chain from Mic to cable to Pre to board, or not to board, whether to run stereo, etc. You can obviously own about anything related to recording you desire under the sun or certainly have access to it, the CS-4 for instance, what about it excites you to want one? What would you couple it to and what would it take for you know if you made a sound investement or not...sorry for the unintentional pun

Looks like Lucus Microphones are offering the second batch of 100 @ $4500, thats still $2100 less than the Bock.

Thank you sir and I look forward to hearing when your DVD will be available.
Jimmie

 

[Kapo_Polenton]

Hi Michael, I've been following this thread since the beginning so I hope i am not repeating something someone else has asked and that it is just escaping me. I have a quick question with regards to tracking and mixing guitars and vocals. I'm thinking big 80's rock sounds here and was hoping you could help out:

1. Say you have two guitars in a band. Do you capture multiple takes of each guitar via diff cabs and mics and then mix 2 or 3 sounds that you like down into one guitar track and then pan that one guitarist left and the other one right? Do you use any phasing tricks here or is it simply make a copy of a track and delay it to make it sound bigger?

2. For vocals, along the same lines, do you tend to prefer voice doubling and panning or do you use a straight up copy of a particular passage of a song and just offset the time and add effects?

The problem with a lot of home recordings is that they just don't sound huge enough to me. When I listen to Lynch Mob's Wicked Sensation for example, I hear more than one cab blended into the main tone. I'm looking for ways to fill out the vocals and fill out the guitars.

Thanks!

 

[mixohoytian]

Hi Michael.
Thanks for all your answers. I also enjoyed your old thread over at gear slutz.
I have a question about production. I recently had a bad experience with a producer. He has a name in the fusion instrumental guitar genre and a small following and I had an opportunity to work with him, so I took it. My music was instrumental, but ranged from jazz to rock and folk

I quit after the first hour with him, however, because he wanted to change the rhythm of every chord progression, riff or idea, as well as add licks and ideas of his own that I would have to learn, and he would change the melody rhythm and placement etc...
all in order to call it "produced"

In your experience, is this normal? (for music that is already well thought out,catchy, not showing off or drawn out)
Or is it more normal to leave lots in tact but add remove sections or suggest different types of ideas for some parts?

It would help me to know what a talented producer such as your self thought.

Thanks