Issue link: https://digital.copcomm.com/i/1541612
C I N E M A A U D I O S O C I E T Y. O R G 51 Right! Also, at that time, I think you're listening on an AM radio and you don't really hear the difference so much as you do now. That and it's also benefiting from getting hammered by whatever limiter or compressor the radio station was using at the time… Sure! So that's the whole quest of doing this. If we were doing this to like Led Zeppelin II, it would be a sin because it already sounds good. Indeed. But the fact that he has all these elements, it was like, "All right, let's explore this." Mainly for a few reasons because that's what Les would do. In the spirit of Les, he would go, "If there's a way to mess with it, let's mess with it!" Also, I feel that his stuff doesn't stream very well. If you put your earbuds in, that distortion presents double in mono. It never gets licensed because it's all mono and if it goes there [points to the center of the room] in a theater, it kind of pulls you out of everything. So, we went down this avenue of trying to remix. That makes sense. So, if we go to the first stem I played for you—the one with the bass and guitar, I just take the bass. [Plays a post- processing clean bass track.] It's pretty good. This makes me remember my very last gig here at Ocean Way. I was working for Barry Manilow on a duet project where he did exactly this, where they were ripping deceased artists' performances so he could sing with them and then recreate the arrangement around that. Oh, yeah! That's another thing that we're doing, which is reaching out to artists saying, "You can do a duet with Mary or you can do the part or you can play Les because we can pull it apart now!" That's so cool. Back to the stems. On the second stem, I've already got the guitar and bass the first time it appears, so I ignore that as all I want is the vocal. Now you'll hear [Plays Mary singing] that it sounds pretty good! The reverb is there! The Les Paul Recording Studio