![]() ![]() Of course with Hysteria we completely annihilated that barrier… it took three years! Of course this meant that instead of an album production taking a month or so, it could take anything up to a year. ![]() We’d do this over and over until we got the feel just right. Sometimes we’d replace whole sections of songs, other times just bars or even a single beat. (‘Punch’ was a term used in the old days meaning to replace parts of the recorded music in an ef ort to improve upon the original performance). We would punch in and out of the multi- track tape recorder. This is something that naturally happens when any band plays together but when you record one instrument at a time the feel is very hard to replicate and it takes time. Recording instruments separately requires re-creating the original feel of the music. You had to blow people’s minds.īut that creates its own set of problems. Like Spielberg with the movies, everything was edited to the nth degree. I think the reason was that in the 80’s it was all about making music production larger than life. Most of the time we recorded each instrument separately, a big departure from what was going on in the late 70’s where bands tended to record live together. In the UK, during the 80’s, record production was getting more and more sophisticated. I think to summarize the recording of Hysteria I’d say we tried to do what people do now when they record in Pro Tools, but back in 1985 Pro Tools didn’t exist. Recording Engineer Nigel Green discusses the groundbreaking, innovative wizardry devised in the studio long before the existence of Pro Tools, and gives Def Leppard fans an inside look with never-before-seen photos from the Hysteria recordings.Ĭlick here to read part of this interview and more from the band members on ![]()
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