本帖*后由 Stone654 于 2017-3-1 20:18 编辑
Q8:他一般会对你的Strat做什么呢？
A8:Joe Perry: 通常是调节摇把，因为我喜欢给摇把充足的活动范围，并且保持适中的弦距。他的手法通常很玄妙，*不可思议的就是让两块木头变成一块的本事：用粘接的方式固定琴颈而不是用螺栓固定的方式、燕尾榫接等等，他都能凭手感去解决。
Q9:当一首曲子成型的时候，你们如何决定谁来弹solo呢？
A9:Brad Whitford: 这个是自然而然的，通常Jack会表示：“这个部分你来弹，那个部分让他来。”一来二去，曲子就这样被“钦定”了。有时候Jack也会说：“我不知道自己为什么这么想，但是这个部分必须要Brad来solo，或者那个地方必须要Joe来solo。”我也搞不清楚缘由，然而事实就是这样。
Q10:举例的话，Tell Me这首歌的solo是怎么来的？
A10:Brad Whitford: Tom Hamilton写的那首歌有一段时间了， 我不想让它听起来像老歌，所以我们开始重置，加点特色。一天我们在录音棚里，Jack说：“我想让你为这首曲子写一段solo，纪念一下George Harrison。”我带着一卷母带进了工作室，拿着吉他在那呆了两个小时，出来的时候solo就写好了。就这么简单，只需要想着George Harrison的风格就行。
Q11:你的创作时的灵感碎片大多数都被收录进了专辑里面吗？
A11:Brad Whitford: 因曲而异吧，进棚之后很多东西都是即兴完成的。Tell Me是一个例外，进棚子的时候它已经是成曲了。
Q12:这张专辑的音轨里面包含了不少模拟和数字技术，这样做的优点是什么呢？具体是怎么做的呢？
A12:Joe Perry: 当我们录好母带后，我们会使用CLASP（Closed Loop Analog Signal Processor）系统进行处理。简而言之，无论你是用24轨录音机或者其他一些磁带录音设备，它都能在信号进入Pro Tools之前进行母带处理。所以，你是同时在磁带和Pro Tools上进行录音，然后把两轨叠在一起，增添一种温暖的感觉。现在Pro Tools上做的后期听起来都有一种冰冷的感觉，所以你需要在音频输入Pro Tools之前做适当的后期。这样会比直接在Pro Tools里加后期缩混出来的效果稍微好一点。
Q13:Brad，你有想过做一张独奏专辑吗？
A13:Brad Whitford：如果我能全神贯注的话，应该是没有问题的，但是我不确定我可以独立完成一张专辑。我的儿子们吉他也弹得特别棒，我想我们可以做一张家庭专辑，毕竟我们是吉他之家。我儿子昨晚再麦迪逊广场花园演奏会上和我们一起演出，所以他们还是挺不错的。这样想挺好，比起我做个人独奏专辑，家庭专辑会更有音乐趣味。
Q14:Joe，如今这张专辑已经完成，你有想过重操“Joe Perry计划”吗？
A14:Joe Perry: 当然，今年冬季就要着手处理这个，顺便准备我个人传记，明年十月十一月左右能够出版吧。我感觉是时候做这些了，同时我也会着手出一些新歌。至于是一张独立的专辑还是随书赠送的一张小碟片，还是要看这会花多长时间以及我能在录音棚呆多长时间。
Q15:可以告诉我们更多关于史密斯飞船乐队的故事吗？
A15:Joe Perry: 要不我们来讲讲过去二十年发生的故事？让我想想，Walk this Way这本书是在12到15年以前开始写的，记录的是七十年代的故事。现在的乐队和那时已经大为不同了，有些事情已经板上钉钉，我也试着去习惯一些事实。这本书更像是一个自传，一个由我诉说的，关于史密斯飞船乐队的故事，都是我自1970年起实实在在经历过的事情。我尽量把我们身边的事情原原本本的记录下来，像某些书一样，挺有趣的。里面有各种各样的小故事，比如一次吵架我把电视扔出窗外，以及关系僵化我离开乐队等等。那时还没有Joe Perry Project这回事，也没有我后来出的五张独奏专辑。虽然里面所述有些会夸张，但这是写我自己的书，不是写乐队的书。
原文：
原文地址：https://www.premierguitar.com/ar ... usic_Do_the_Talking
访谈：史密斯飞船乐队
Joe Perry&Brad Whitford——用音乐说话
Jason Shadrick，翻译：Candy Leo，校对：Stone654
摄影：Ken Settle
如果把一支四十年以来内部矛盾不断的一线摇滚乐队和*引人入胜的旋律联系起来，你会想到什么？当然，是史密斯飞船乐队。
在外界看来，这些来自波士顿的大男孩们仿佛有些止步不前。自2001年推出的Just Push Play之后，这支乐队的原创作品开始乏善可陈。狗仔们开始津津乐道主唱和乐队之间的矛盾（传统套路）、Steven Tyler的单飞甚至参加美国好声音的种种。但今年乐队成员再次聚到了一起，除了新专辑并开始了盛大的巡演活动。
Music from Another Dimensio 这张专辑尚不知将成功与否，它包含了史密斯飞船著名的的一切：大段子、摇滚、大制作。
专辑的制作人是Jack Douglas，史密斯飞船70年代推出的那些专辑也是由他操刀。传统的价值观和老牌摇滚风格在从前的Rocks和Toys in the Attic专辑中得到诠释，又在现在推出的Out Go the Lights和Street Jesus这两张专辑中继续闪耀光辉。巡演的核心是两大著名人物Joe Perry和Brad Whitford，他们是有史以来使用Les Paul型吉他的*受人尊敬的吉他手之一。他们俩之间的关系就像Ronnie与Keef或者Malcolm与Angus一样，好比油和水，风格分明但是互相补充。我们*近在一次麦迪逊广场的演出中遇见了这两位，并邀请他们来做一场访谈，向我们好好讲述一下乐队的创作历程、对吉他的选择以及他们灵感的源泉。
Q1:近些年通过奋斗乐队再次回归大家的视线，这张专辑*后成功发行是种怎样的感觉？
A1:Joe Perry: 按道理来说，我们尝试制作这张专辑差不多有三次了。*开始我们和Rick Rubin通了几次电话，探讨这张专辑的可能性 。之后我们叫来了Jack Douglas，试图与他一起探讨新专辑。然而气氛比较尴尬，也没有达成共识。当时巡演在即，我们有机会在Jack的录音棚里与他共事，但是仍然没有从零开始编曲的时间。我们决定出一张布鲁斯专辑，这就是后来的Honkin’ on Bobo 。完成之后，我们又与Brendan O’ Brien合作了一段时间 。这些进行的同时，乐队一直在巡演，而不是在度假，懒洋洋地犹豫到底要不要出一张专辑。光阴似箭，我们很害怕自己变得江郎才尽，毕竟岁月不饶人。
Brad Whitford: 是啊，的确花了很多时间。过去几年中，我们总是出现自己准备好了的错觉。大概在两年前，我们聚在一起为专辑作曲，交流灵感。这样的聚会总是能让你头脑一新，我们终于找到了抓手，开始制作这张专辑。在我们聚过一次之后，后面几场每个人都是乐思泉涌，灵感不断。
摄影：Ken Settle
Q2:回首你们各自的传奇经历，你是否认为乐队正在经历创作低迷期呢？
A2:Brad Whitford: 每个人都有自己的个人生活，每个人生活中都会遇到不同的事情。不可否认，乐队每个成员都会遇到各自的麻烦，可能某一时期我们之间会产生矛盾。不过经历过一些事之后，其他的我们都已经看淡，现在我们只关注自己还能创作出来什么东西。
Joe Perry: 我们在各种场合都能汲取到自己所需的东西，甚至是在排练的时候，我们会告诉录音师哪段哪个riff做标记加到专辑里。当然我们可以在Just Push Play这张专辑两三年后再推出一张专辑，但是那样时间上就太迟了。从积极的一面看，我们现在的灵感还是源源不断的。
在完成Just Push Play这张专辑之后，我们其实可以在2到3年的时间里制作另一张专辑，但是时机不对。不过好的一面是，我们不断在积累好的素材，以便在日后使用。
Q3:.这张专辑*让你们自豪的是什么？ 能否举个例子？
A3:Brad Whitford: 还是当属Street Jusus这首歌。说来有趣，这首歌的主旋律在我脑海里已经萦绕许多许多年了。就是自然而然吧，这些乐句有时从天而降入你的脑海，但是有时苦想多年也没有思绪。多年以前我就想把这首歌写出来，但是从来没有完工过。我不知道这首曲子*终会如何，也不知道我们需要怎样去写。直到我们开始着手这张专辑的时候，我再次将这首曲子拿了出来。就在刹那间，灵感涌现，仿佛着魔一样。当你有一个好的灵感时，除了相信它是一个可靠的念头，还需要一颗坚定不移的心。你需要让乐队里的所有人都全身心地投入进去，重点是在所有人的参与。
Q4:录制一首完整的小样和录制riff片段在创作上有什么不同吗？
A4:Joe Perry: 没什么不同。Jack Douglas的工作是将曲子变得能够达意，令其表现出承载的真正意义。他试图将我们乐队的实力发挥到极致。举一个例子，我们有时会根据曲子的种类来和不同的制作人合作。这张专辑里面有几首歌是与Steven、Marti Frederiksen合作完成的，Marti同时负责制作。Jack做的则是让乐曲完美的融入史密斯飞船乐队的风格，让我们回到从前在现场的状态：充满爆发力和感染力。仿佛激情在血脉中涌动，正如70年代的我们，那才是我们的风格。Jack深知只有让我们回到那种状态，才能让乐队发挥到极致。不论是写好的成曲还是现场即兴，Jack都能令其带有史密斯飞船特色，这就是他的工作。再举一例，我在一天内写完了Freedom Fighter这首歌。从早上五点左右开始作曲，然后作词，再进棚子。等到乐队排演的时候这首歌已经是高度完成的作品了。
Brad Whitford: 是的，我也有同感。Jack能够洞悉乐队从前的风格，也知道乐队今后的走向。他深谙我们未来的发展方向，在我们趾高气昂的时候，他能做到冷静分析和思考。他会亲手指点我们，将我们*好一面的展示出来，这就是他的处事方式和风格。感觉就好像是他已经完全融入了我们乐队，成为我们其中一员一样。和他共事是我们的荣幸，非常愉快。他是一个非常风趣幽默的人，乐观向上。我们工作时气氛并不紧张，但是每个人都很严谨努力。
摄影：Ken Settle
Q5:今年夏天我与Joe的吉他技师Trace Foster曾聊到Joe的设备，他提到有几种不同的箱子、踏板和吉他的组合可以让你没日没夜地钻研。你们在录制这张专辑的时候有什么很特别的音箱吸引了你吗？
A5:Joe Perry: 我用了一个人头马踏板。自从我和Brad拿到这个踏板后，它就是我的主力过载了。我记得是一个波士顿的小哥给了我和Brad一些早期的Klon Centaur。他们用起来感觉有一种额外的增压感，但并不会影响箱子或者吉他的音色，这在众多单块之中是脱颖而出的。做现场或者进棚子的时候，会有一些不方便的地方。进了录音棚之后你就不能用单线圈拾音器了，因为会有杂音，RF等诸如此类的问题。我有一把Stratocaster用来演奏这类风格的音乐，它是一把’57，但是音色和一般的的Strat截然不同。不过它在现场会出现非常闹心的杂音。你也许能找到一个方法把杂音和谐掉，但只要推一点音量上去，各种奇怪的声音就会溢出。当然我也有几把十分好用的改装版Jeff Beck款Strat 。我会玩一个小花招，把它们直插在Neve或者Spectrasonics前级上。通常来说，你在现场直插音箱会出现很多杂音和吃音色的问题，但是如果你直连效果器，就可以得到一个纯粹的fuzz效果，不用管音箱那些乱七八糟的了。我经常把吉他信号分两股，并联接入音箱和效果器。
Brad Whitford: 我想大概是有一些吧，这些年我一直在尝试把几个箱子串在一起，这样产生的音色很好，可以让你找到创作的灵感。我有一只传统的Marshall一体箱，虽然状况尚可，但是每次巡演时我都不是很敢带上它。原因之一是因为我不想把它搞丢，虽然这个音箱上有我听过的*动听的喇叭（原装的绿背）。它大概是来自六十年代中后期，音色很难解释，但很抓耳朵。在录音棚里我经常用它录音，在合适的地点也会拿出来演出。
Q6:你们尝试过新的踏板和音箱的组合吗？
A6:Brad Whitford: 还没，因为我想不出来有什么特别新奇的东西。我在录音棚里尽量精简我的效果链路，因为我更喜欢直插的原声。 除非需要加上一些必要的效果比如弗兰格和混响，我希望我的琴直接用线缆连接音箱，就是这么简单。 一把好的吉他，一个好的箱子，就能让你完美演奏了，过多的修饰对你的舞台效果并无益处。我喜欢原汁原味不加效果的音色。巡演过程中我只带了一个音箱：’59 Fender Bandmaster，我知道Pete Townshend他们用的也是这一款 。现在我知道选择这个音箱的原因了，因为它的音色实在很棒。它是一个3*10的一体箱，你可以把任何类型的电琴接进去：Strat、Tele、Les Paul，出来的效果只会让你感到惊艳。
Q7:今年夏季巡演你们俩用的都是Echopark的吉他，你们是怎么发现这款吉他的？
A7:Brad Whitford: 他（Gabriel Currie）家的吉他做得相当棒！我的琴师Marco Moir一天和我提了一嘴，我进棚子时恰好有一把他做的吉他。我们插上电试弹了一下，所有人都被出来的效果惊艳到了。我们自然成为了好友，后来他也给Joe做了几把吉他。那些琴真心棒，Gabriel用老木头做琴，有那种沉淀的韵味在里面。好的材料确实可以让音色更好，但不是说所有的老木头都能出好琴 。Gabriel有一种特殊的天赋，知道如何选择优良的材料，能够根据敲击木板的声音来判断成琴的效果。
Joe Perry: 是的，我想Brad手上那把也用了几年了吧。*早我是在他的仓库里看见的，当时并没有太在意。后来Gabriel找到我让我试一些吉他，我不得不说那些琴的音色非常好，都是些不可多得的精品，有一把基本每次演出都会用。Gabriel真的很棒，他的耳朵能辨别细微的不和谐，制作的每一把琴都是艺术品 。当我们讨论定制琴的细节的时候，他会发来很多半成品的图片。如果我们需要一些改动，把琴给他就好。他也帮我改装过其它的一些琴，尤其是我的Strat。
Q8:他一般会对你的Strat做什么呢？
A8:Joe Perry: 通常是调节摇把，因为我喜欢给摇把充足的活动范围，并且保持适中的弦距。他的手法通常很玄妙，*不可思议的就是让两块木头变成一块的本事：用粘接的方式固定琴颈而不是用螺栓固定的方式、燕尾榫接等等，他都能凭手感去解决。
Q9:当一首曲子成型的时候，你们如何决定谁来弹solo呢？
A9:Brad Whitford: 这个是自然而然的，通常Jack会表示：“这个部分你来弹，那个部分让他来。”一来二去，曲子就这样被“钦定”了。有时候Jack也会说：“我不知道自己为什么这么想，但是这个部分必须要Brad来solo，或者那个地方必须要Joe来solo。”我也搞不清楚缘由，然而事实就是这样。
Q10:举例的话，Tell Me这首歌的solo是怎么来的？
A10:Brad Whitford: Tom Hamilton写的那首歌有一段时间了， 我不想让它听起来像老歌，所以我们开始重置，加点特色。一天我们在录音棚里，Jack说：“我想让你为这首曲子写一段solo，纪念一下George Harrison。”我带着一卷母带进了工作室，拿着吉他在那呆了两个小时，出来的时候solo就写好了。就这么简单，只需要想着George Harrison的风格就行。
Q11:你的创作时的灵感碎片大多数都被收录进了专辑里面吗？
A11:Brad Whitford: 因曲而异吧，进棚之后很多东西都是即兴完成的。Tell Me是一个例外，进棚子的时候它已经是成曲了。
Q12:这张专辑的音轨里面包含了不少模拟和数字技术，这样做的优点是什么呢？具体是怎么做的呢？
A12:Joe Perry: 当我们录好母带后，我们会使用CLASP（Closed Loop Analog Signal Processor）系统进行处理。简而言之，无论你是用24轨录音机或者其他一些磁带录音设备，它都能在信号进入Pro Tools之前进行母带处理。所以，你是同时在磁带和Pro Tools上进行录音，然后把两轨叠在一起，增添一种温暖的感觉。现在Pro Tools上做的后期听起来都有一种冰冷的感觉，所以你需要在音频输入Pro Tools之前做适当的后期。这样会比直接在Pro Tools里加后期缩混出来的效果稍微好一点。
Q13:Brad，你有想过做一张独奏专辑吗？
A13:Brad Whitford：如果我能全神贯注的话，应该是没有问题的，但是我不确定我可以独立完成一张专辑。我的儿子们吉他也弹得特别棒，我想我们可以做一张家庭专辑，毕竟我们是吉他之家。我儿子昨晚再麦迪逊广场花园演奏会上和我们一起演出，所以他们还是挺不错的。这样想挺好，比起我做个人独奏专辑，家庭专辑会更有音乐趣味。
Q14:Joe，如今这张专辑已经完成，你有想过重操“Joe Perry计划”吗？
A14:Joe Perry: 当然，今年冬季就要着手处理这个，顺便准备我个人传记，明年十月十一月左右能够出版吧。我感觉是时候做这些了，同时我也会着手出一些新歌。至于是一张独立的专辑还是随书赠送的一张小碟片，还是要看这会花多长时间以及我能在录音棚呆多长时间。
Q15:可以告诉我们更多关于史密斯飞船乐队的故事吗？
A15:Joe Perry: 要不我们来讲讲过去二十年发生的故事？让我想想，Walk this Way这本书是在12到15年以前开始写的，记录的是七十年代的故事。现在的乐队和那时已经大为不同了，有些事情已经板上钉钉，我也试着去习惯一些事实。这本书更像是一个自传，一个由我诉说的，关于史密斯飞船乐队的故事，都是我自1970年起实实在在经历过的事情。我尽量把我们身边的事情原原本本的记录下来，像某些书一样，挺有趣的。里面有各种各样的小故事，比如一次吵架我把电视扔出窗外，以及关系僵化我离开乐队等等。那时还没有Joe Perry Project这回事，也没有我后来出的五张独奏专辑。虽然里面所述有些会夸张，但这是写我自己的书，不是写乐队的书。
原文：
Interview: Aerosmith’s Joe Perry and Brad Whitford Let the Music Do the Talking
Jason Shadrick
November 27, 2012
What do you get when you combine nearly 40 years of grade-A American rock ’n’ roll, seemingly never-ending internal squabbles, and some of the most downright anthemic riffs ever? Why, Aerosmith, of course.
From the outside, the last decade or so has been pretty slow for the boys from Boston. Since the release of Just Push Play in 2001, not much original music has emerged from the Aerosmith camp. The tabloids were quick to blame everything from the typical lead singer/guitarist infighting to Steven Tyler’s (almost) solo career and even American Idol. But the band came together this year and is touring full force with a new album in tow. Music from Another Dimension is an album, for better or worse, that touches on everything Aerosmith is known for: big riffs, lush ballads, and plenty of production.
That production is fingerprinted by Jack Douglas—the man behind much of the group’s ’70s output. The old-school ethos that populated Aerosmith classics on Rocks and Toys in the Attic come back to life in the grit and attitude of “Out Go the Lights” and the bluesy snarl of “Street Jesus.”
Right at the center of this rock tour de force are two of the most revered and respected guitarists ever to strap on a Les Paul: Joe Perry and Brad Whitford. Much like Ronnie and Keef or Malcolm and Angus, the Perry/Whitford partnership is equal parts oil and water. On paper it might not line up exactly, but the proof is in the pudding. We recently caught up with the guitar duo the day after a sold-out show at Madison Square Garden to discuss the band’s somewhat tumultuous creative process, discovering new guitars, and what tones inspire them.
The struggles over the last few years within the band have been well-documented. How does it feel to finally get this album out the door?
Joe Perry: We tried to make this record probably—well, legitimately—three times. We set up some phone calls with Rick Rubin and talked with him about possibly doing the record. After that, we got together with Jack Douglas with the intention of coming up with a new studio record but the vibe wasn’t right and people weren’t in the right headspace. There was a tour coming up and we had time to work in the studio with Jack, we just didn’t have time to play everything from scratch so we decided to do a blues record, the Honkin’ on Bobo record. Then we got together with Brendan O’ Brien and spent some time with him and that ended quickly. In between all of this the band was still touring. It wasn’t like the band was sitting on vacation and trying to decide if we were going to make a record. As the years kept going it was really frustrating to not have anything new to play. It was time.
Joe Perry: We tried to make this record probably—well, legitimately—three times. We set up some phone calls with Rick Rubin and talked with him about possibly doing the record. After that, we got together with Jack Douglas with the intention of coming up with a new studio record but the vibe wasn’t right and people weren’t in the right headspace. There was a tour coming up and we had time to work in the studio with Jack, we just didn’t have time to play everything from scratch so we decided to do a blues record, the Honkin’ on Bobo record. Then we got together with Brendan O’ Brien and spent some time with him and that ended quickly. In between all of this the band was still touring. It wasn’t like the band was sitting on vacation and trying to decide if we were going to make a record. As the years kept going it was really frustrating to not have anything new to play. It was time.
Brad Whitford: Yeah, long time coming. The last couple of years, it just seemed like we were ready. It was almost two years ago, we got together to do some writing and putting ideas together for the album and that was a very creative session. We felt like the light was finally green and we could start working on it. Especially after we had the initial session. The ideas were really flowing.
Even with all the personal setbacks, did you ever feel the band was at a creative lull?
Brad Whitford: We had a lot of personal issues—people going through stuff in their lives. Yeah, different issues going on for certain members of the band. We just weren’t very good at being a band for a while. We got past a lot of that stuff and started to get more interested in being serious about seeing if we could get something done.
Brad Whitford: We had a lot of personal issues—people going through stuff in their lives. Yeah, different issues going on for certain members of the band. We just weren’t very good at being a band for a while. We got past a lot of that stuff and started to get more interested in being serious about seeing if we could get something done.
Joe Perry: We had a lot of material from all those different sessions and even jamming onstage. We would jam and then tell the sound guy to mark the tape and some of those riffs ended up in songs. We certainly could have done another record two or three years after Just Push Play, but the time just wasn’t right. The good side of it was we had a lot of good material to pick from.
Is there an example on the album that you are particularly proud of?
Brad Whitford: That “Street Jesus” song. It’s funny, a majority of that song I have been kicking around for years and years and years. Sometimes, that’s how these things happen. These songs just fall out of the sky on your lap and other times they are years in the making. It was something I just kept bringing to the table for years and never really could find a home for it. I never really knew what it was going to be or what we were going to do with it. When we started on this album, I put it on the table again and it just took off and caught fire. That’s another thing—if you have a good idea and you believe in it you have to be a bit persistent. Find a way to make it work and make it into something that the other members of the band can really sink their teeth into. But everybody has to be into it.
Brad Whitford: That “Street Jesus” song. It’s funny, a majority of that song I have been kicking around for years and years and years. Sometimes, that’s how these things happen. These songs just fall out of the sky on your lap and other times they are years in the making. It was something I just kept bringing to the table for years and never really could find a home for it. I never really knew what it was going to be or what we were going to do with it. When we started on this album, I put it on the table again and it just took off and caught fire. That’s another thing—if you have a good idea and you believe in it you have to be a bit persistent. Find a way to make it work and make it into something that the other members of the band can really sink their teeth into. But everybody has to be into it.
Does the creative process differ between bringing in a riff or a sketch of a song and a fully formed demo?
Joe Perry: It’s all the same. The way Jack Douglas works is that he wants to be as transparent as he can be, as far as what the song sounds like. He wants to pull everything he can out of the band. For example, on this album there were a few ballads written with Steven and Marti Frederiksen and Marti produced them. People use different producers for different songs sometimes and Marti is the kind of producer that writes songs and then produces. Jack is the kind of producer that really lets the band be what it is and Aerosmith, coming out of the era we came out of, is all about playing live and cranking the energy up and entertaining the audience. That thread—that fire that runs in our veins that started it back in 1970— that’s still there and Jack recognizes that and knows that the best way to record the band and to get the most out of the band is to get us out there and playing. Whether I come walking in with a complete and finished song, warts and all, or if someone has two riffs that work together and the band hammers it out and turns it into something—just as long as they end up songs. And that’s how Jack works. On “Freedom Fighter,” I wrote everything in a day. It was like 5 in the morning and I wrote the lyrics and then I have this studio, so I wrote the music for it. It was basically a finished song when the band played on it.
Joe Perry: It’s all the same. The way Jack Douglas works is that he wants to be as transparent as he can be, as far as what the song sounds like. He wants to pull everything he can out of the band. For example, on this album there were a few ballads written with Steven and Marti Frederiksen and Marti produced them. People use different producers for different songs sometimes and Marti is the kind of producer that writes songs and then produces. Jack is the kind of producer that really lets the band be what it is and Aerosmith, coming out of the era we came out of, is all about playing live and cranking the energy up and entertaining the audience. That thread—that fire that runs in our veins that started it back in 1970— that’s still there and Jack recognizes that and knows that the best way to record the band and to get the most out of the band is to get us out there and playing. Whether I come walking in with a complete and finished song, warts and all, or if someone has two riffs that work together and the band hammers it out and turns it into something—just as long as they end up songs. And that’s how Jack works. On “Freedom Fighter,” I wrote everything in a day. It was like 5 in the morning and I wrote the lyrics and then I have this studio, so I wrote the music for it. It was basically a finished song when the band played on it.
Brad Whitford: Yes, I really do think that Jack has an understanding of what this band is trying to do and has always tried to do. He gets it in a very intimate way and understands it and how it works. When it’s working at the highest peak he is able to analyze it and understand it. He can put his finger on it and is able to bring the best out in everybody—it’s just the way he works and his personality. It’s almost like he is a member of the band. So, it was great to work with him and a lot of fun. He is such a fun-loving guy, he is very upbeat, so we laugh a lot. We keep it light, but very serious. We work hard.
When we caught up with Joe’s tech, Trace Foster, this summer he mentioned that different combinations of amps, pedals, and guitars inspire you from night to night on the road. Was there a specific combo that inspired you during the sessions for this album?
Joe Perry: I use a Klon [Centaur] pedal. That’s my go-to drive pedal and has been since we first got ours. I think the guy was in Boston and gave both Brad and I some of the early ones. There’s just something about them, they seem to give that extra push but without getting in the way of the sound of the amp or the guitar. It’s just a really good all around pedal. It’s also a matter of if you are in the studio or live. In the studio you have a lot more freedom to fool around with single-coil pickups because of the hum problem, the RF, and all of that. I have a Stratocaster that I use almost exclusively for my Strat-type stuff. It’s a ’57, but it doesn’t sound like any other Strat I‘ve ever heard, but it has a hum that you can’t deal with live. You might find a building once in a while where it works, but most of the time when you start getting it up to the volume you need it to be, it just hums like a bastard. I also have a couple of bastardized Jeff Beck Strats that work really well. The other thing I would do is go direct into either a Neve preamp or a Spectrasonics preamp. When you use them live, there’s so much hum and the way that they were built, it’s almost like the sound or tone disappears. But, when you plug them directly into the board you don’t have to deal with the amplifier thing and you actually get the sound of the fuzz tone or whatever it is. Very often I would split the signal and go into my amp, or combo, and the board.
Joe Perry: I use a Klon [Centaur] pedal. That’s my go-to drive pedal and has been since we first got ours. I think the guy was in Boston and gave both Brad and I some of the early ones. There’s just something about them, they seem to give that extra push but without getting in the way of the sound of the amp or the guitar. It’s just a really good all around pedal. It’s also a matter of if you are in the studio or live. In the studio you have a lot more freedom to fool around with single-coil pickups because of the hum problem, the RF, and all of that. I have a Stratocaster that I use almost exclusively for my Strat-type stuff. It’s a ’57, but it doesn’t sound like any other Strat I‘ve ever heard, but it has a hum that you can’t deal with live. You might find a building once in a while where it works, but most of the time when you start getting it up to the volume you need it to be, it just hums like a bastard. I also have a couple of bastardized Jeff Beck Strats that work really well. The other thing I would do is go direct into either a Neve preamp or a Spectrasonics preamp. When you use them live, there’s so much hum and the way that they were built, it’s almost like the sound or tone disappears. But, when you plug them directly into the board you don’t have to deal with the amplifier thing and you actually get the sound of the fuzz tone or whatever it is. Very often I would split the signal and go into my amp, or combo, and the board.
Brad Whitford: I suppose there are probably several of those. Over the years I have managed to put together a few little amplifiers that really guarantee a great sound and that helps inspire you. I have this really ancient Marshall cabinet that is in decent shape but I would be afraid to take it on the road. First of all, I wouldn’t want to lose it. But it is one of the best-sounding guitar speaker enclosures I’ve ever heard. It has the original Greenbacks. It’s probably a mid-to-late-’60s-era cab. It’s one of those things that’s hard to explain but is unbelievable. I will always use it in the studio—or almost always, depending on where I am.
Did you discover any new pedals or amps?
Brad Whitford: I can’t think of anything terribly new. I try and keep the pedals at a minimum in the studio. I just like the purity of the sound. I want the guitar and a cable into an amp and hopefully I don’t have to add anything to that. Unless it calls for it, like some flange or chorus. I try and keep it as pure as you can. A good guitar with a good amp, then the idea is to get a great performance. You can have all that shit and get a shit performance and you got nothing. I really like hearing something that is pure performance and isn’t enhanced in any way. I have one amp actually, that I found when we were doing these sessions. It’s a ’59 Fender Bandmaster. I believe that Pete Townshend used that same type of amp for a lot of the Who stuff. And now I know why! It’s just an amazing, amazing sounding amp, if you can find a good one. It’s a combo–a 3x10 combo. I can plug anything into it—Strat, Tele, Les Paul, it just works flawlessly.
Brad Whitford: I can’t think of anything terribly new. I try and keep the pedals at a minimum in the studio. I just like the purity of the sound. I want the guitar and a cable into an amp and hopefully I don’t have to add anything to that. Unless it calls for it, like some flange or chorus. I try and keep it as pure as you can. A good guitar with a good amp, then the idea is to get a great performance. You can have all that shit and get a shit performance and you got nothing. I really like hearing something that is pure performance and isn’t enhanced in any way. I have one amp actually, that I found when we were doing these sessions. It’s a ’59 Fender Bandmaster. I believe that Pete Townshend used that same type of amp for a lot of the Who stuff. And now I know why! It’s just an amazing, amazing sounding amp, if you can find a good one. It’s a combo–a 3x10 combo. I can plug anything into it—Strat, Tele, Les Paul, it just works flawlessly.
This summer on tour you both were using Echopark guitars. How did you discover them?
Brad Whitford: His [Gabriel Currie] guitars are pretty amazing. My guitar tech, Marco Moir, was telling me about this guy and then when we got into the studio one of his guitars showed up. We plugged the thing in and thought, “My god, something really special is going on.” Since then we have become good friends and he has built a bunch of guitars for Joe now. They are just amazing. They have the soul of an old guitar because he makes them from ancient wood. The wood really makes a difference. He has a real talent, you know, it’s not always an old piece of wood that is going to work. You have to get the right one and have some sort of intuition or ability to actually listen to the wood and know that it’s going to sound good with some strings on top of it.
Brad Whitford: His [Gabriel Currie] guitars are pretty amazing. My guitar tech, Marco Moir, was telling me about this guy and then when we got into the studio one of his guitars showed up. We plugged the thing in and thought, “My god, something really special is going on.” Since then we have become good friends and he has built a bunch of guitars for Joe now. They are just amazing. They have the soul of an old guitar because he makes them from ancient wood. The wood really makes a difference. He has a real talent, you know, it’s not always an old piece of wood that is going to work. You have to get the right one and have some sort of intuition or ability to actually listen to the wood and know that it’s going to sound good with some strings on top of it.
Joe Perry: Yeah, I think Brad has had one for a few years now. I saw it in his stack. I didn’t really pay much attention to it but Gabriel came down and brought a couple for me to try and I have to say they are probably some of the best-sounding boutique guitars that I have heard—hands down. I use one live pretty much every night. He is just really amazing and he has an ear for detail and is a real artist when it comes to building guitars. He gets it. It’s funny, we’ll be talking about building something idiosyncratic, he will text me pics of it as he is building it. It’s kind of fun to finally get the guitar and if there are little changes we can send it back and he can tweak it. He has also done some work on some of my other guitars, you know, setting them up a little better, especially the Strats.
What specifically does he do to set up your Strats?
Joe Perry: It’s the balancing the tremolo bar and adjusting the action. Because the whole thing, at least for my playing, is I like to have enough range in the bar and then making sure the height of strings is just right high up on the neck. I don’t know, he works some kind of magic in there. But his real forte is turning two pieces of wood into one piece of wood. Gluing the neck on instead of screwing on the neck; doing the dovetailing thing and putting the neck on the guitar and how much of the neck should go into the body—he’s analyzed all that.
Joe Perry: It’s the balancing the tremolo bar and adjusting the action. Because the whole thing, at least for my playing, is I like to have enough range in the bar and then making sure the height of strings is just right high up on the neck. I don’t know, he works some kind of magic in there. But his real forte is turning two pieces of wood into one piece of wood. Gluing the neck on instead of screwing on the neck; doing the dovetailing thing and putting the neck on the guitar and how much of the neck should go into the body—he’s analyzed all that.
When a song begins to take shape, how do you decide who takes the solo?
Brad Whitford: It just seems to be a natural, organic process. That’s another place where Jack might step in and say, “You should play this part and you should play this part.” A lot of times the song just dictates it. Jack might say, “I don’t know what it is, but that has to be a Brad Whitford solo or a Joe Perry solo.” I don’t know what it is but they just speak to us.
Brad Whitford: It just seems to be a natural, organic process. That’s another place where Jack might step in and say, “You should play this part and you should play this part.” A lot of times the song just dictates it. Jack might say, “I don’t know what it is, but that has to be a Brad Whitford solo or a Joe Perry solo.” I don’t know what it is but they just speak to us.
For example, Brad, how did the solo on “Tell Me” come together?
Brad Whitford: That’s a song that Tom [Hamilton] has had for some time. I don’t want to make it sound old, it’s not that old. But, we were working that up and it was becoming a unique thing all on its own. We were in the studio one day and Jack said, “I want you to go write a solo for this. Think George Harrison.” I went into this office with a copy of the song and my guitar and sat there for about two hours and came back out. That was it. We got it. I tried to think a little bit like George Harrison.
Brad Whitford: That’s a song that Tom [Hamilton] has had for some time. I don’t want to make it sound old, it’s not that old. But, we were working that up and it was becoming a unique thing all on its own. We were in the studio one day and Jack said, “I want you to go write a solo for this. Think George Harrison.” I went into this office with a copy of the song and my guitar and sat there for about two hours and came back out. That was it. We got it. I tried to think a little bit like George Harrison.
Are most of your leads worked out?
Brad Whitford: It’s different for different songs. Most of the stuff in the studio will be improvised. Other cases, like “Tell Me” I just wrote the whole thing.
Brad Whitford: It’s different for different songs. Most of the stuff in the studio will be improvised. Other cases, like “Tell Me” I just wrote the whole thing.
For this album you combined both analog and digital technology for the main tracks. What was the advantage and how exactly did you do that?
Joe Perry: When we recorded the basics, we brought in the CLASP [Closed Loop Analog Signal Processor] system. Basically, it turns the 24-track, or whatever tape machine you use, into a piece of outboard gear so the first thing it’s hitting is the tape machine after it comes off the mic. From there, it goes into Pro Tools, so you are recording on the tape, but also recording on Pro Tools. It locks up with Pro Tools and helps add that warmth to the sound because the way Pro Tools is now, it just about reproduces everything you put into it. You have to take those extra steps to get that warmth and part of that is hitting the tape before it goes into Pro Tools. It is a little better than taking it straight off of Pro Tools and after that we then mix it down to a 2-track tape.
Joe Perry: When we recorded the basics, we brought in the CLASP [Closed Loop Analog Signal Processor] system. Basically, it turns the 24-track, or whatever tape machine you use, into a piece of outboard gear so the first thing it’s hitting is the tape machine after it comes off the mic. From there, it goes into Pro Tools, so you are recording on the tape, but also recording on Pro Tools. It locks up with Pro Tools and helps add that warmth to the sound because the way Pro Tools is now, it just about reproduces everything you put into it. You have to take those extra steps to get that warmth and part of that is hitting the tape before it goes into Pro Tools. It is a little better than taking it straight off of Pro Tools and after that we then mix it down to a 2-track tape.
Brad, have you ever considered doing a solo album?
Brad Whitford: Oh man, well if I ever get myself together. I’m not sure how I would approach that because a couple of my sons are amazing players. I think we might do a family album since I have these amazingly talented guitar players in my family. One of my sons played with us last night at Madison Square Garden, so they aren’t slouches. I think that would be a good angle and be more musically interesting rather than just do my own solo album. That seems to be just musical masturbation.
Brad Whitford: Oh man, well if I ever get myself together. I’m not sure how I would approach that because a couple of my sons are amazing players. I think we might do a family album since I have these amazingly talented guitar players in my family. One of my sons played with us last night at Madison Square Garden, so they aren’t slouches. I think that would be a good angle and be more musically interesting rather than just do my own solo album. That seems to be just musical masturbation.
Joe, now that this album is finished, do you have any plans to go back to the Joe Perry Project?
Joe Perry: Yeah, I am going to be working on that this winter as well as my autobiography. It will probably come out next October or November. I feel like it’s time and at the same time I’ll be working on some new music. Whether it takes the form of a whole album or if it’s something that coincides with the book, I haven’t figured that out yet. We’ll see how much time that takes over how much time I can get in the studio.
Joe Perry: Yeah, I am going to be working on that this winter as well as my autobiography. It will probably come out next October or November. I feel like it’s time and at the same time I’ll be working on some new music. Whether it takes the form of a whole album or if it’s something that coincides with the book, I haven’t figured that out yet. We’ll see how much time that takes over how much time I can get in the studio.
Is there more to the Aerosmith story?
Joe Perry: What about the last 20 years? Think about it. Walk this Way was written 12 or 15 years ago and it was mostly about the ’70s. The way I see it, there is a huge gap between the time the band got back together until now; stuff that has been in the papers, and how I ‘ve managed to survive through this. It’s an autobiography—it’s the Aerosmith story and my story through my eyes. It’s my truth about it and having a pretty good seat through the whole thing since 1970. I have a pretty good view of the way things developed. The other book that was written, it’s cute, okay? It has all the little stories about throwing TVs out of the windows and getting f**ked up and me leaving the band. I don’t think there is anything in there about my adventures with the Joe Perry Project for three years or talking about five solo records that I have done. There’s stuff that has been written about Aerosmith and not all of it true, but it’s my book, it’s not an Aerosmith book.
Joe Perry: What about the last 20 years? Think about it. Walk this Way was written 12 or 15 years ago and it was mostly about the ’70s. The way I see it, there is a huge gap between the time the band got back together until now; stuff that has been in the papers, and how I ‘ve managed to survive through this. It’s an autobiography—it’s the Aerosmith story and my story through my eyes. It’s my truth about it and having a pretty good seat through the whole thing since 1970. I have a pretty good view of the way things developed. The other book that was written, it’s cute, okay? It has all the little stories about throwing TVs out of the windows and getting f**ked up and me leaving the band. I don’t think there is anything in there about my adventures with the Joe Perry Project for three years or talking about five solo records that I have done. There’s stuff that has been written about Aerosmith and not all of it true, but it’s my book, it’s not an Aerosmith book.
附：Joe Perry和Brad Whitford的设备：
Joe Perry’s Gear
Guitars
1957 Fender Stratocaster, Dan Amstrong Ampeg (tuned to Open A), Gibson "Bllie" Custom Lucille, Gibson Joe Perry Signature one-pickup Les Paul prototype, Gibson Joe Perry Signature Boneyard Les Paul, Gibson Joe Perry Signature Les Paul, BC Rich Bich 10, Fender Jeff Beck Esquire replica, Fender Telecaster with B-Bender, Chandler Lap Steel, Echopark Blue Rose, Ernie Ball/Music Man 6-string bass, Fender Custom Shop Strat, Echopark Ghetto Bird, Fender Custom Shop Tele (E5 tuning)
1957 Fender Stratocaster, Dan Amstrong Ampeg (tuned to Open A), Gibson "Bllie" Custom Lucille, Gibson Joe Perry Signature one-pickup Les Paul prototype, Gibson Joe Perry Signature Boneyard Les Paul, Gibson Joe Perry Signature Les Paul, BC Rich Bich 10, Fender Jeff Beck Esquire replica, Fender Telecaster with B-Bender, Chandler Lap Steel, Echopark Blue Rose, Ernie Ball/Music Man 6-string bass, Fender Custom Shop Strat, Echopark Ghetto Bird, Fender Custom Shop Tele (E5 tuning)
Amps
'69 Marshall Plexi (KT66 tubes), '70 Marshall Plexi (EL84 tubes), Marshall JTM45 Reissue, Jet City JCA20H, Friedman Dirty Shirley, Budda Verbmaster, '65 Marshall Bluesbreaker, '70 Marshall Major
'69 Marshall Plexi (KT66 tubes), '70 Marshall Plexi (EL84 tubes), Marshall JTM45 Reissue, Jet City JCA20H, Friedman Dirty Shirley, Budda Verbmaster, '65 Marshall Bluesbreaker, '70 Marshall Major
Effects and Accessories
Bradshaw Switching System, Custom Siren pedal built by Rob Lohr, Boss DD-7 Delay, Dunlop Jimi Hendrix Cry Baby Wah, DigiTech Whammy I, Electro-Harmonix POG, Ernie Ball VP Jr. , Klon Centaur, TC Electronic Flashback Delay, TC Electronic Hall of Fame Reverb, TC Electronic Vortex Flanger, MXR Carbon Copy Analog Delay, Duesenberg Gold Boost, Option 5 Destination Bump Boost, Shure ULX-D wireless unit, RJM Effects Gizmo, Digidesign Eleven Rack
Bradshaw Switching System, Custom Siren pedal built by Rob Lohr, Boss DD-7 Delay, Dunlop Jimi Hendrix Cry Baby Wah, DigiTech Whammy I, Electro-Harmonix POG, Ernie Ball VP Jr. , Klon Centaur, TC Electronic Flashback Delay, TC Electronic Hall of Fame Reverb, TC Electronic Vortex Flanger, MXR Carbon Copy Analog Delay, Duesenberg Gold Boost, Option 5 Destination Bump Boost, Shure ULX-D wireless unit, RJM Effects Gizmo, Digidesign Eleven Rack
Brad Whitford’s Gear
Guitars
Fender Custom Shop '62 Strat reissue, Fender Eric Johnson signature Strat, Epiphone Inspired by John Lennon Casino, '67 Fender XII 12-string, Echopark Downtowner, Gibson '58 VOS Les Paul
Fender Custom Shop '62 Strat reissue, Fender Eric Johnson signature Strat, Epiphone Inspired by John Lennon Casino, '67 Fender XII 12-string, Echopark Downtowner, Gibson '58 VOS Les Paul
Amps
PRS HXDA, Fender Twin Reverb Custom 15, 3 Monkeys Virgil, PRS MDT 100, 3 Monkeys BW 119, ’59 Fender Bandmaster
PRS HXDA, Fender Twin Reverb Custom 15, 3 Monkeys Virgil, PRS MDT 100, 3 Monkeys BW 119, ’59 Fender Bandmaster
Effects and Accessories
Fulltone Wah, Pigtronix Philosopher's Rock, Pigtronix Disnortion, Boss TU-2 tuner, Framptone Amp Selector, Mojo Hand Rook, Pigtronix Fat Boost, Xotic EP Booster, BK Butler Tube Driver, Eventide Time Factor, TC Electronic VPD1 Vintage Pre-Drive, TC Electronic Flashback Delay, TC Electronic Vortex Flanger, TC Electronic Corona Chorus, TC Electronic Hall of Fame Reverb, Fulltone Supa-Trem, Voodoo Lab Pedal Switcher
Fulltone Wah, Pigtronix Philosopher's Rock, Pigtronix Disnortion, Boss TU-2 tuner, Framptone Amp Selector, Mojo Hand Rook, Pigtronix Fat Boost, Xotic EP Booster, BK Butler Tube Driver, Eventide Time Factor, TC Electronic VPD1 Vintage Pre-Drive, TC Electronic Flashback Delay, TC Electronic Vortex Flanger, TC Electronic Corona Chorus, TC Electronic Hall of Fame Reverb, Fulltone Supa-Trem, Voodoo Lab Pedal Switcher
原文地址：https://www.premierguitar.com/ar ... usic_Do_the_Talking
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