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    Q&A With Paisley Park Engineer, David Friedlander

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    Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:44 am

    Q&A With Paisley Park Engineer, David Friedlander

    This article is a must read for any inner sanctum Prince fan

    Excerpts
    Id prefer not to give my real name for obvious reasons but I was an engineer at Paisley
    Park from 1988-1996. I left in 1996 due to a huge misunderstanding. I had been a loyal
    servant to the funk for 8 years.

    one of the first projects I did at Paisley was recording everything in the vault to tapes
    for the lawyers to copyright. alot of material i guess wasnt copywritten. We had a team of
    2 engineers and if i remember a security guard, so we policed ourselves against
    bootleggings. every 2" was quickly mixed and dumped and every 1/2" was dumped. Of
    course it took a long time. The reason I bring this up is I know firsthand how many of the
    earliest works were profusely shedding. Alot!! When the studio started using scotch tape
    specifically 250 the profuse shedding stopped. If they didnt bake the tapes and transfer it
    im sure theres a lot of magnetic dust now. I was never involved with any archiving but I
    pray that someone has or thats a whole lot of history gettin lost.




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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:47 am

    Opening post, October 28,2009:

    NOTE: Post was put up underorg screenname “chronicfreeze”

    SUBJ: Prince Engineer Here1988-1996: Q&A helloall,

    I ran into this website while looking for an old friend Femi Jiya. I lost touchwith him there for a minute and was trying to find him when this site popped upunder a search for his name. Im glad I checked it out. Its very impressive andall the fans and their knowledge is very impressive as well. You people aresome serious heads.

    Id prefer not to give my real name for obvious reasons but I was an engineer atPaisley Park from 1988-1996. I left in 1996 due to a huge misunderstanding. Ihad been a loyal servant to the funk for 8 years. I lived funk. Prince, Cameo,Lenny White, Slave, Pleasure, Skyy, etc. I could tell you stories for hoursabout the challenging but wonderful time I had at Paisley but just for a sec Iwant to focus on 1996 and our misunderstanding cause it still hurts me to thisday and I need your advise. We had just gotten home from Paris after spending agood portion of the winter there. My best friend in Paris was a guy named Sodiwhom I met when he came from Paris to do a session at Paisley. Sodi is a heavycat, he was producing Fela at the time amongst others. Rock solid gentleman. Iwas in the studio waiting for Prince to arrive with co engineer Ray H. I hadjust received a letter from Sodi thanking me for the wonderful time we had inParis. He thanked me for taking him to the sold out suprise show at a smallclub. He thanked me for the cds I gave him. The girls at Paisley Park recordsalways gave me music and swag to give out when we were traveling. and said nexttime I came to Paris he would like to show me his new studio.

    I told Ray I was going to run to the kitchen and graba quick bite before westarted. when I returned Prince had already gotten there and was readign mymagazine with my leter from Sodi tucked in the back. When I entered the roomPrince told me I could leave. I asked if I had done anything wrong which hesaid that i didnt do anything wrong but I could read. I grabbed my magazineshrugged my shoulder at Ray and left. I waited in the lounge until Ray cameout. I was like what did i do and Ray had no idea. He went back in and Iwaited. I decided to read my magazine. My letter had been removed from themagazine. I thought about what was contained in the letter, Im sure he was madabout something in it. Did he think I was bootlegging? For me thats the worstthing I could think of. The cds I gave Sodi were directly from PPR. When we gothired at Paisley we signed a serious piece of paper where we agreed not toremove any music from Paisley. I was a huge advocate for artists rights andwould never violate them. Did he think i was moving to Paris? He was very muchinto loyality so did he think I was going to jump ship? Sodi just invited me tosee his studio. If he would have just asked I would tell him how Id never livein Paris, ever. Nice place to visit but im a nature boy, I liked our Minnesotalakes and forests. How much more loyal of an employee do you need to be whenyou carry around a beeper 7 days a week 365 days a year. Your boss can call youat any moment and sometimes did. I was proud to do it, I was so loyal and
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:47 am

    that iswhat hurts me to this day.

    6 months after I left I got a call from a video editor in LA who said "youknow why you were let go right? it was some letter about you moving toParis" I knew it had something to do with my letter. I have thought aboutthat innocent letter for the past 12 years. I have had nightmares about italot. It makes it hard to even enjoy listening to Princes music cause I canthelp but feel hurt. I go over the words in the letter wondering how he couldmisunderstand it after knowing me for so long? This is the reason im here withyou all today. I really need advise, I just have to forgive and hope to beforgiven but how? This forum might be the chance to present my case to him, inhopes that he or one of his associates might actually read it. When you get letgo like that, you never get the opportunity to thank anybody. So after 12 yearsof thinking about this I just want to say to you Prince "Thank you,without you my spirit would not be the same. You were a mentor, a teacher,sincere and you took a chance on me. I feel so blessed to have been part if it.Im so so sorry things turned out how they did but I assure you from the bottomof my heart I always had your back (except for when Kyle Bess and I did thatKaraoke thing.) My time at Paisley marked a time in my life of huge spiritualgrowth. I hope you can forgive me for whatever it is you think I did andrealize i was coming to you from a place of love."

    I want to thank whoever is reading this for giving it a bit of energy. I feellike I can finally complete this circle and move on from it. Id like to be ableto enjoy Princes music and not have negative feelings. Id love to answer a fewquestions about the period I worked there provided they are positive. Im nothere to slander anyone, just celebrate one of my favorite artists. Im onlygoing to be doing it for a week or so. Everyone here knows so much history butif theres anything I can help with. I did a bunch of different sessions there,not just Prince. Worked a lot with Levi, David Z, Eric Leeds, George Clintonetc.



    Q: I wonder what youthought of Prince's musical progression from 1988-1996? It's a much debatedsubject here with people existing on all ends of the continuum
    A:The hard thing about this period for me for Prince or any artist that usedelectronic instruments was where sounds were heading. We were coming off ofstraight up analog synthesizers, analog and low bit sampled drum machines, evenanalog effects and entering a period of fm, digital and wavetable synthesis.Everybody was throwing out their easy to program analog boxes and buyingdigital stuff, I didnt see many people actually programing the keyboards, justusing stock sounds. I think it lead to a period of lets just say not myfavorite keyboard and drum machine sounds. Now when you pull out theinstruments, the drum, bass, gtr, organ stuff, that stuff just kicks my butt. Ithink my favorite album of the period was Diamonds and Pearls but we had done acomp of it just after doing vocals before starting to do do alot of keyboardoverdubs and there were a few tunes on it that didnt make the cut. That was thesh*t. Smooth and raw, lots of space for the sounds to breathe. im gettingtingles just thinking about it. I think this period also signified a time whenhe realized he might have to be more of a public figure than he might havewanted. If you were going to fire your lame record company and still be able topay the electric bill you are going to have to make friends. This is all justmy opinion.

    kinda &%*$ answer there, ill summarize. Generally soundwise, I like olderPrince material better, its just younger,rawer and funkier. but I thought therewere some great songwriting, songs and concepts that came out of 88-96, moremature. I thought some
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:48 am

    ofthe productions were getting a bit dense and digital for my taste but I stillliked it all very much. Isnt it funny though that he was totally right aboutthe major labels and the rise of the artist on the internet. Nailed that oneright on the head.

    Q: Did Prince work ethicchange from 88-96?

    A:nope, totally prolific. again this is only my view, but im sure anybody thatwas there would say the same. Not to sound sacrefunkaligious but forget JamesBrown, Prince was the hardest working man in show business. Bet he still is.

    Q: If this is all genuinethen you must realise that people come and go n Prince circles....even if youdid manage to get through to Prince, he'd be a totally different guy to the oneyou knew. Also, why hide your name.... How many engineers with letters aboutParis has he dismissed - he'll know it's you.

    A:I promise im gonna answer all good questions but this one really struck me andi want to respond before i go to bed. Of course I understand how we all comeand go. I had seen many friends let go for odd reasons. I think at the time hewas paranoid of everyone around him, especially mid 90s. He really had no ideahow much many of us close to him actually loved him and would do anything toprotect him. It was so much more than a job. Im sure he is a different man nowwhich is why i think ive waited so long before saying anything. I think he isin a place where he might be able to read what ive said and forgive me in hisheart. Im not looking for contact or an apology or a job or fame or anything.Im just hoping that I can clear the negative energy away from my name and I canfinally enjoy listening to a Prince song with a smile on my face. By postingthis I have made a step in letting it all go and I cant tell you how freeing iffeels. Theres nothing else I can really do now except celebrate.

    I dont really want to mention my name because I dont normally use my real namein any forum I ever post in. Im sure he and any other Paisley Staff on the sitewill know who I am and hopefully get in touch. I miss y'all.

    Q: Prince's Vault and thestatus of it's contents. Were tapes deteriorating and being neglected? Havemeasures been taken to digitally archive the tapes? Hans Martin Buff, who Ibelieve may have come in after you has alluded to the fact that Prince seemedto not really express much interest in his Vault material.

    A:one of the first projects I did at Paisley was recording everything in thevault to tapes for the lawyers to copyright. alot of material i guess wasntcopywritten. We had a team of 2 engineers and if i remember a security guard,so we policed ourselves against bootleggings. every 2" was quickly mixedand dumped and every 1/2" was dumped. Of course it took a long time. Thereason I bring this up is I know firsthand how many of the earliest works wereprofusely shedding. Alot!! When the studio started using scotch tapespecifically 250 the profuse shedding stopped. If they didnt bake the tapes andtransfer it im sure theres a lot of magnetic dust now. I was never involvedwith any archiving but I pray that someone has or thats a whole lot of historygettin lost.

    Q: Prince has said that hewould re-record his entire Warner Bros catalog. Did this indeed happen?

    A:no clue, after my time
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:48 am

    Q: I heard that a newversion of "the Black Album" has been re-recorded back in 1991/92with the NPG group (i read long long years ago a note from Levi from aninterview about this but my memory is out of order now so)..is this true ornot??

    A:If so I didnt get to hear it, woulda been a bad ass session If they did it livewith the band.

    Q: Did he have a fav orcertain guitar?

    A:I cant answer for him, my fave guitar of his was a straight up fender tele.

    Q: If you could describe atypical day of Paisley Park recording sessions and a run through of what wasusually expected of you by Prince, it would be greatly appreciated. Also, whatsession(s) brings back the fondest memories of your tenure at the Park?

    A:Hey there, good morning. Ive got a pretty busy day today. Im tryin to get asmall studio started here in PDX which we are going to teach at risk youth howto record and produce their music. Were also going to service lower incomemusicians with a sliding scale recording rate. Ive got to pick up some coolgear that a local studio has donated, part of which is a really amazing desk tohold our console and DAW. figured id answer a few questions over coffee beforeI jet for the day.

    Id say there was no typical day of recording. Every day was different and youusually had no idea what you would be doing until you got there and the callcame in. Im sure sessions have been well documented by other engineers here butIll add a few things to the list. Going to a session was like being a doctorgoing to a birth. We had a beeper which could and would go of at any time ofthe day or night. When it did go off we didnt know if we were going in for 3hours or 3 days. We were expected be there within the hour despite the fact thatmost of us lived in Minneapolis. I lived in Uptown and it took me 35-40 minutesjust to drive out to Chanhassen. The staff was more than friends,we were likearmy buddies. we were there to support each other cause you never knew how longor hard it was going to be to get this baby out. One other funny thing isif,during the session, Prince excused himself for a half hour and came backwith fresh clothes on you knew you were done for! the session was easily goingto go on for another 24 hours or more. We never got fed there and the studiowasnt located near any convenient food source so one of our hardest battles wastrying not to starve.

    I can reduce my fondest memories down to 3

    1. Being in the studio for Rosie Gaine's "audition"
    2. Listening to the Black Album with Prince and Femi right off the master tapesin studio A. bangin! Prince even gave us a little running commentary on it.Femi had never heard it so we stopped recording and he had me go to the vaultto grab it and we all just hung out and listened. It was just like 3 musiclovers enjoying a great album.
    3. Jamming on a blues tune with Prince and his pops. Prince on drums, His dadon piano and I played bass. He wanted Kim Basinger to play the bass but sherefused so I grabbed the chance. Couldnt follow John's changes for sh*t, thatwas one abstract character but it was fun nonetheless.
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:48 am

    Q: What kind of work areyou doing these days?

    A:Hey thanks for this question. today Im im Portland Oregon, Ive got an amazing 4year old girl. I record lots of different bands in town, My biggest client nowis this band Pink Martini who just released their 4th album yesterday. They arenot funky. Im also starting a little studio which will service at risk teensand get em off the street and making,recording and producing music. Were alsotargeting musicians who cant afford big studios by offering a sliding scalerate. Were trying to get some grants right now but we dont want red tape tostop us from the vision so were proceeding on it on our own dime and some extragear donated from a local post production studio. Were gonna host bi weeklyfunk jam sessions there as my partners are tied into the funk/soul scene uphere. Theres a mob of musicians calling themselves the doo doo funk mob thatthey are all part of and we are hoping to do recordings of all our jams. Theyare all killer players and there are some serious sisters and brothers withsome pipes were hoping to record. Were just gonna mash up all theplayers,singers and rappers and see what comes out. Oh yea, ive also been doingwhat ive loved since the 90s but with a modern twist. I used to dj undergroundsoulful house music on a pirate radio station, now I do it on the internet. Ifyou like soulful house PM me and ill give you the web address. This is a Princeforum, not a soulful house one.

    Q: Can you tell us anystories about the recording techniques during your time at PP?

    A:im not sure how well documented the recording process has been so I dont wantto add to things that you already know. Ive got a ridiculously funny story toshare about getting an underwater guitar sound. Cant remember what song it wasbut Prince wanted to get an underwater guitar sound and asked Me and Ray to goget an old amp from the basement and a tub of water. I asked him what he wasplanning to do. He wanted us to throw the amp in the water while he was playinghis solo and mic up the tub of water. He thought he could get an underwatersound that way. Now this is a guy you dont say no to but I was not going to bethe guy to kill Prince. I told him he was going to die but he wanted to try itanyway. I asked for 10 minutes to set it up and quickly devised a way to pullthis stunt off safely. I ran downstairs and grabbed the shell of a 12" tomtom and had Ray bring up the mesa boogie combo. We put the amp on its back. Iput the tom shell over the speaker, put a garbage bag in it and filled it withwater. At the time, for whatever reason there were alot of purple condomseverywhere, they were called purple raincoats and i think they were some kindapromotional thing. I grabbed a mic, slipped a condom over it and put it in thewater. then we listened to it, what do you think a guitar sounds like thruwater? its not swirly, its just dull. I figured it was the watery swirly soundhe was going for so I patched the gtr sound thru the h3000 and tweaked aprogram called watery flange. He came back just as I got done tweaking andasked what was going on. I showed him the setup but "forgot" tomention the watery flange program. He seemed to dig the sound and we laid itdown. Several times that night Ray and I made eye contact and motioned like wewere wiping our brow. Prince would live to see another day.

    Q: what was it like to beinterviewed for a job at paisley park?
    A:The question should be whats it like being interviewed for the only positionthat mattered to you in the whole world. Man, Paisley was it for me. It was mydream gig. I had always dreamed of working for Prince in High school. Oddlyenough my best friend in high school had the same dream although he was anartist. He wanted to design
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:49 am

    recordcovers. When I was almost out of college I sent a resume to Paisley andactually got called, but seeing as I didnt fix equipment they didnt need me. Meand my friend decided to move to Minneapolis anyway. I sent another resume inand I think they thought that it was a bold move cause I got an interview. Idressed like a dork for it and I was way too nervous. I passed the technicalpart of it with flying colors but I was so nervous I could barely talk. Themanager at the time Harry Grossman, god bless him gave me another chance. I hadscored another gig at a studio in Minneapolis but had asked them if I couldhold off my decision till after the weekend. 5 minutes later paisley called andsaid they would like to put me on a session to see how I would do. I called mymom and asked her if I should go for the good money at this other studio or gofor my dream even though there was no guarantee of there even being a position.Moms said go for the money, I went for the dream.

    The session was this funk band from Chicago that was being produced by a greatproducer and engineer Jonathon Akre who was not affiliated with Paisley, he wasa local producer that worked out of there. Being put in a session was myelement. there was no more nervousness. The session lasted all night and thenext day when the office staff came in and I was still there they got to seethe real me. Jonathon gave them all a great review and I was in. First stop atthat time was working in the shop with the most incredible tech ever Sal Greco.Books should be written about Sal.

    As a sidenote I just got to tell you what happened to my best friend. When Igot into the Prince session, my handwriting was really bad so I would have Jeffdo any writing for me, like we would have a big piece of paper with all thecurrent projects song titles on it. He made them so elaborate. I had gottenJeff a job at the studio but it was to do small things like designing set upsheets and purchase orders. I also began sneaking in some of his artwork todecorate the studio. Eventually Prince asked if this was my work and i said noits my friend Jeffs. He scheduled a meeting with Jeff and long story short,Jeff started the in house Paisley Park art department and was there for years.

    Q: And the Come album,1-800-New Funk and Superhero from Blankman OST.

    A:1800newfunk that was a &%*$ album.

    it was funny one day in LA i get a call from Therese at Paisley offices. Shesaid Prince wants us to start using our funny names on the albums. We had nevertalked about funny names with him nor had any funny names. I had always wantedto be DJ Freeze since I was a kid. I also smoked a lot of weed at the time(never on the clock). Chronic Freeze. get it? Kyle my LA assistant liked Xanexand couldnt come up with anything original so he became Xanex Bess. Did thatname make it onto any records? He obviously liked the name Chronic Freeze causeat a managers meeting at Paisley My friend Jeff came back to me and said hekept making references to me changing my name and said that they all needed toquit being so lazy and do something creative like I did changing my name.

    Q: I am hoping if you canconfirm this early Rave Unto The Joy Fantastic tracklist and maybe even placethe tracks in their correct sequence…
    A:Man you are heavy, you know some history there. Wish I could help. The firstactual project I started with Prince on was the Batman soundtrack with FemiJiya engineering.
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:49 am

    Cantremember anything about Rave and Im not sure about anything Sheila was doing.Saw her a few times at paisley in studio B but for the most part she wasntaround.

    Q: Do you know the sequencefor this album?

    George Clinton: Hey Man… Smell MyFinger (5 February 1991)
    Sequence unknown, but according to Uptown #12 the tracks are: Rhythm And Rhyme,The Flag Was Still There (9:17), Way Up (6:05), Get Satisfied (4:57), This BeatDisrupts (4:27), High In My Hello, Booty, My Girl (Prince), My Pony(3:54)(Prince)

    And did Prince actually contribute a song called My Girl?


    A:I was just looking for this record and it seems i have misplaced it. Ill getback to you when I find it but I dont think that My Girl was included, itdoesnt ring a bell. Ill tell you one thing that shoulda been on the record. Notto toot my own horn but i did this remix of Rhythm and rhymes that never cameout, It was like fight the power squared. Still scares the &%*$ out of me whenI hear it. one of the coolest things ive ever done. Im probably the only guywith a copy of that and its gonna stay that way so dont even ask...

    Q: Can you confirm ifPrince made these two early Come configurations and possibly elaborate on thetrack lists? Do you know the exact track lists?

    A:I cant remember individual configurations, we would call them comps but theywere basically works in progress and theres no way I could ever keep track ofall of them. Thats your job. The Beautiful Experience you speak of with the 7tracks, is this different than the version that was released? Warners wasntgoing to let him release one song at a time, they were going to let him releaseone song period! They even punked him and wouldnt let him use properdistribution. They set him up for failure and what happened? The song debutedat #2 i believe, i can remember looking at Billboard that day. What a victory.Screw those fools at WB. Bunch of pencil pushing idiots if you ask me.

    Q: Do you know the tracklist of Mayte: Latino Barbie Doll (1994)?

    A:I never did anything with Mayte So I cant help.

    Q: If he ever reads your storyhere it would be the right thing to apologize to you at the least.

    A:Thanks Gigi, again im not looking for an apology, just for forgiveness. I lovethis guy just like all of you. I just dont want him thinking I did somethingwrong to him that I most certainly did not.

    Q: Do you know the tracklist for the Come singles: Prince:Come, Prince: Loose!, [You must be registered and logged in to see this image.]: Heart, [You must be registered and logged in to see this image.]: Chaos And Disorder
    A: Ihad no idea that come came out as a single, i loved the 18 and over version.and Loose, I remember that track like it was yesterday. what a jam. a liverecording during tour rehearsals with all sorts of chaos put on top of it. Youcan hear the PA system blasting in the backround if you listen close enoughespecially on the vocals. def not a studio recording but what energy. I blew afew subs listening to it.
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:49 am

    Ihave no info on heart. Sounds amazing though. Wish I could remember all thetracklisting of all the different configs you mention but as i said earlierthere were so many. The only one that mattered to me was the final cut of therecord cause thats what we would have to go master.

    Q: Michael Bland hasmentioned an unreleased Rock Version of Space and an unreleased version ofSolo. Do you know if they are from 1993 or 1994?

    A:I can only remember the released versions. Solo, man you are bringin me back. Ialmost cried when I heard that for the first time.

    Q: did u work with Femi onthe remixes of 'LOVESEXY' tracks? was it like it seemed, that Prince would haveso many projects and ideas,that 75% just got 'canned' ? u do realise that yourprescence is a wet dream 2 some of the 'completists' and musicologists on here!!??

    A:No I didnt work on any lovesexy remixes. I wouldnt say canned, Id say vaulted.You never knew when you would be handed a list of songs to go retrieve from thevault and watch this part or that part or those strings get copied from onesong and pasted into something new. He was constantly sampling himself. PureGenius. Gigantic vault of music yet he knew every single instrument on everysingle track.

    Q: Maybe you can put thestupid rumor of Prince being an Ectasy user to rest! Is it true or not?

    A:Whoa not sure how to deal with this one. I never saw him do more than drink aglass of white wine. ever. If he did do anything It was on his own free timeand thats really none of our business is it? He never came to work high. I likeecstasy so I hope to god he has knocked a few back in his days, sat back andlistened to some music.

    Q: Let me just say that theonly way you can get over it is if YOU get over it. It sounds like you'rewaiting for something to happen that is very unlikely to happen. If absolutionfrom PParkStudios the only thing that can get to to move past the problems,then I feel for ya.

    Prince once said (paraphrasing)"doesn't matter if you play the wrong note, play it hard and withconfidence and keep moving forward." I imagine he ties that into hisdecision making process. Many people feel that it's hard to apologize forsomething they did; because, spending time reliving mistakes from the past onlyslows you down from making huge gains in the here and now.

    A:Hey Dauphin I have been waiting for something to happen, for 12 years. and nowIm making something happen. Again Im just hoping he could be a forgiving soul,but in reality it is myself that I am forgiving for being so troubled by thisfor so long and in my forgiveness im celebrating with all of you. Ive done asmuch now as I could possibly do so its out of my hands. It is so much funremembering all the great times I have suppressed for so long. Im so thankfulto share them with a appreciative group of peeps. After the week or so of mebeing on here is over Im going to truly feel like I was able to close thecircle and move on. Ive got all of you to thank. I humbly bow before each andevery one of you and say thank you for listening.
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:50 am

    COMMENT:Hi again, Ill get back to answering things in order but I had to jump to Bartsposts for a sec. Y'all gots to give Bart a break, Im loving what he is sayin,mabye you guys flaming each other is petty but cmon, its a forum. Its liketelling siblings not to fight. Im trying to stay positive about what im talkingabout but Im all for you guys and girls debating. its a healthy part ofconversation. To be honest I agree with Bart on this and its a valid point. Hehad carte blanche to do and record whatever, whenever on Warners dime. My friendson the video side of things used to get called in for a video shoot that was tohappen in 3 hours, so they all made double time. What was the biggest moneywaster of all time, in my opinion Carmen Electra!!! One of you staticians mustknow the numbers on that one. They spent way over a mil on her and what did sheend up selling. 10,000-20,000? A white chick that could rap fast and had a niceass. Im sorry, Carmen just aint funky. Man I had been at the studio for 2 daysand someone from the record company comes in with a tape and they knew I was agood editor and they said could I take this interview that carmen did and makeher sound smarter for the radio. I was like tired and a bit irritated thiscouldnt wait till later so I decided I was going to make her sound dumber thanshe actually was.(wasnt hard) Im bummed I never taped any of this stuff formyself cause id love to hear it now. I had myself a grand olde time cutting andpasting questions to fragments of out of context answers. I ended up spending acouple hours doing it, it was soooo good! I played it for a few of the otherengineers who fell over laughing and then I turned it in. Never heard about itagain.

    am I rambling here or is this stuff cool to hear? I dont know.

    Q: Someone identified ChronicFreeze as Michael Koppelman which was incorrect.

    A:Its all good. Michael was a buddy, I spent alot of time with him. The funnything about Paisley was that nobody that worked there ,not including the band,besides myself, my best buddy Jeff and Magoo who worked on the crew were eveninto funk,soul,r&b. They were all rockers, Michael was probably one of themost talented of the rocker bunch.Jeez even our studio keyboard programmer wasinto industrial. He hated soul music. Everyday black shirt, black pants, evenblack thong wearing. I never got that. one of the funkiest guys on the planetsurrounded by rockers.

    ohmy god, cant believe I forgot about Tom Garneau, he was a funk fan too. SorryTom. He couldnt dance for &%*$ but he loved it.

    Q: Ohhh... You have toexpand on those! What did Prince say in his 'running commentary' on the BlackAlbum? And, more about the audition, please.
    A:I knew everyone was going to ask about the Black Album listening party. To behonest Im not going to repeat any of it because that was one of my bestexperiences and it was only intended for me and Femi. Ill tell you what though,hearing that record right off the master thru those monster Westlake speakersat a respectful level. Holy &%*$!!!! Remember I was a bass player so I wastrippin at how great the bass sounded and was played on that system. Thatrecord has got some of the baddest ass bass playin this side of Pleasure's"Glide"

    Levi Brought Rosie from the Bay area for a try out. We did it in studio b. Icant remember the song she sang on but I remember she sang backup parts. Princeasked for a
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:50 am

    harmonyand she instantly delivered. she did this yodeling thing in harmony that had usall on the floor bowing. I just remember thinking that this was going to be oneof the best female vocalists of our time. I was bummed I never got to work withher on her solo record. Steve durkee (another rocker, heavy metal was histhing) recorded most of it. Rosie, class all the way!!

    Q: Hehe he does like anamechange that one. How did you find the turbulent Warner Bros feuding alteredthe studio dynamic? I would assume this factored in during the Come recordingsessions.

    A:We were relatively sheltered from the feud. of course the name change took usall by surprise. One day we walk in and say Hey prince blah blah blah and hesays Havent you read the papers? ive changed my name. and I say to what? and heholds up his symbol necklace. Im like ok, hmm what do we call him. I startedcalling him dude but he asked me if he looked like he worked on a dude ranch.Good point. From that point on you just had to make sure you had eye contactbefore asking anything. Ray got busted one day for spelling his name wrong onthe track sheet. he had the arrow pointing the wrong way!

    Personally speaking I was with him on the Warners split but subconsciously Iwondered if he would be able to finance it all if Warners was out of thepicture. That was all none of my biz so I didnt get into it all that much. Ijust wanted to hear some jamz.

    Q: You should have slappedPrince for reading your mail invasion of privacy style

    A:ooo forgot to answer this. Honestly I could give a &%*$ for him reading myletter. I left it in a magazine in a studio. I could care who read it. We'reall human. If he had a letter sticking out of a mag I was reading Id do thesame thing. Thats how confident I was that there was nothing in that letterthat should have led to me being booted out of the studio after i had provenmyself for many years. If there was anything scandalous in it there is no wayit would have been in the studio for anyone to pick up and read. That day justshocked the poo out of me.

    Q: I know this would be ahard question, but is there a particular track / session that stood out fromyour time there that just made you say "Wow, now that is a hit!"

    A:I knew beautiful girl would be a hit but hows about a track that said to me"this is the track that Ive been waiting to hear."

    the horny pony. he aint sayin much in it but what a track!! some old schooldirty funk. like I said Im a bass player. pure bass bliss.

    Q: Why do people want towork FOR prince when all he seems to do is use them, abuse them(365 24/7), andthen throw them out? Not to mention that he seems to be the one getting ALL thecredit and ALL the money!
    A:Man great question!! all I can speak from is my own experience. For me it wasmanifest destiny. Its hard to explain but I just knew I had to help. The moneywasnt huge and it was a huge commitment but some things you do because of thehigher power of it. I had been a huge Soul/funk fan and this was the pinnacleof the funk mountain. It wasnt about furthering my career and all that cause Ihonestly thought Id become an old man
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:51 am

    engineerthere at Paisley. I just loved the music and the staff there so much. I knew itwas my destiny but I wasnt prepared for it happening so quickly. Keep that inmind people, dreams do come true. You just need to commit to your dreams andmake sure your dream is specific enough or you might get an unexpectedsurprise.

    Q: Come to think of it, Ihave a question to ask u Chronic. Let say Prince were to get word of yourthread here on the org and he contacts u, forgives you and the issue isresolved. If Prince were to offer u a job with PP today, would you accept it oris that a part of the past that will stay in the past?

    A:man you all got some great questions, questions i cant get in trouble for. OKwe all know that im not getting forgiven for anything. Thats totally cool, imforgiving myself for letting it affect me for so long. But to answer yourquestion, no, I would not go back. The kids need me here in Portland, ive got alot to teach. They aint gots no mountains in Minneapolis, Im a bad asssnowboarder here. Cant live without the mountains. I wouldnt mind doing somemixing,editing,mastering or anything like that if it came up but thats not thereason Im here.

    Q: Were you involved in NPGrecords like Goldnigga and Exodus? What distinctions did you observe betweenPrince the solo artist and the NPG if any at all?

    A:I was not involved with goldnigga. Wasnt really feeling that record myself. Idid work on Exodus although my memory of that record is fuzzy. Im gonna have togo see if i still have it and give it a listen. When I first moved to PortlandI had a party and this dj guy showed up and began talkin prince this and princethat. The next day I realized that half of my Prince records and cds were MIA.My Madhouse records were gone. Jill Jones, man all the old &%*$ and a couple ofreally cool things the girls in the office gave me. Punk dj disappeared and wasnever seen around again.

    Q: Kirky J (Kirk Johnson)of the Gameboyz seemed to feel very comfortable in the studio when I visitedthere in 2000. Any experiences with Kirk, Damon, or Tony Mosley you wish toshare?

    Also, did Prince ever explain why somesongs would show up on B-Sides and some songs would get pulled from compsbefore the final engineering stages ("The Grand Progression" beingone removed song that stands out)?

    Third, without giving any names, you mentioned that you guys were TIGHT onbootleg control. However, many songs were leaked during Prince's career. Inotice that a ton of the tracks were songs sent to other artists, or they werecomps that engineers took home to work on and they ended up making a copy of.How do you explain (since you have inside knowledge) how people were gettingaround the security controls? How did those controls evolve over time?

    A:Heres the question I was hoping someone would ask. before I talk about myopinion on bootlegs... Never said much to Tony or damon. They had big heads tome. Kirk was great. I thought he was a great musician, had great ears, a littleweak on the engineering side but thats why he had us and an all around niceguy. I was glad to see him get really comfortable in the studio. Those guysstarted off as dancers at Paisley right?
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    Post by maxim9691 on Tue Sep 28, 2010 11:52 am

    Ihave super strong feelings on the whole bootlegging thing. again this all myown opinion and does not reflect anyones else views or opinions. One day wewere told that security cameras were going to be installed all around Paisleyand there would be a guard 24/7 watching the cameras. Now at the time I washanging with Engineers Ray and Kim. We couldnt understand why the cameras. Theywere centered all around the vault and the entrances to the studio. We couldntunderstand why because to our knowledge there was no one sneaking around makingcopies of anything and we were there a lot. You would have to be one slickcharacter to get away with anything like that. It finally dawned on me duringthe making of the Gold Experience what was happening. We would make a copy ofthe album for Prince to listen to. He would call back and ask for 2 morecopies. Id get called in later that night because he wanted 3 more copies. Imthinking to myself "what the heck is he doing with all these copies"I had a conversation with the limo driver about this very subject and he saidthat he leaves copies laying around all the time, leaves them at the club,inthe car, Im assuming he probably gave some out to djs or hotties. You wonderwhy you all have so many configs of different records. My hypothesis is that asthe record is worked on different configs are printed to cassette or disc atthe end of a given session.

    He simply misplaces this config somewhere or gives it away to someone who makesa copy for someone and so on. I think most of his bootlegs are caused by hisown negligence. I cant speak for everybody but I can speak for Ray, Kim James,Matt Larsen. we were \"illegal music\" free even before the cameras. No one was sneakinginto the vault. period.

    God,I forgot to mention that we were not allowed to take tracks home to work on andmost of us took that very seriously.

    Q: Please give us a blow byblow account of what it was like to work with the genius that is TC Ellis. Didyou just know you were sat watching history in the making? On days like thoseI'm sure you just sit back in awe.

    A:Man that guy has a story. How he got hooked up with Prince. what he did beforerapping. Do you know any of that or do I need to start from the beginning. Asfar as hip hop goes he is def not one of my faves but his charm and charactermake me remember and enjoy the time we spent together with Levi.

    Q: Can you identify for uswhich tracks from Crystal Ball and The Vault: Old Friends 4 Sale you wereinvolved in and any memories of them?

    A:I dont know the tracklisting for any of these. remember i have not listened tothe guy in 12 years. hit me with a tracklist and ill try to clear the cobwebsout of my brain.

    Q: going back to youroriginal story, i think the problem is that with your initial job involvingtransferring unreleased tracks to tape, and him seeing the letter regardingthanking you for cd's, he put 2 and 2 together and made 5
    A:Im not sure he was even aware of who was doing the transfers and if he did hewas aware of how regulated it was. It wasnt just me, it was the whole staff andsome independents. Thats a huge vault were talkin bout. I really think it hadsomething to do with leaving for Paris. I love all you Parisians, I was justthere a month ago, but I dont know how you all can live in such a huge city. Icould never do it. And yes, I could blame
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:52 am

    him.After all the &%*$ we had been thru, he should have bro'ed up (a portland termmeaning be a friend) and said "whats this about?" and given me thechance to defend myself. I mean the guy caught me and Kyle doing Prince Karaoketo a tape kyle bought at tower records. He punished us but we didnt get fired.Thats a lot worse than some innocent letter.

    We all love Femi.

    Q: I hope everything worksout for you...and I look forward to reading some great anecdotes.I bet you havea huge crowd round you at parties

    A:I have never shared any of this ever with more than 5 of my closest friends. Ifinally agreed to do an interview for a book but the writer said he wasfocusing on the recording process, not some stupid tell all. I enjoyed readingabout the beatles in the studio I figured I could talk about some of ourrecording techniques. The guy was really studio savy and we talked alot aboutmics and micing and our old friend the Publison. That was pretty much it.

    the book never came out. its too bad because i think the recording communitywould love to read it. I mean for gods sake you got one of the best recordingstudios in the world. Let the gear geeks in for a little peek.

    Q: so-after working instudios myself as an engineer for a few years now-give us a typical day atPaisley. Were you on call-or doing shifts and how many hours a day on averagewas Prince at Paisley 'working'

    A:so because you are an engineer you know that no 2 days were the same. We wouldjump between tracking, mixing, overdubbing, editing. We were on call with abeeper and would be called at all hours of the day. There were no set hours butthe longest session we (me and Ray) ever had was 72 hours. We each slept 3hours during the 72 hours. We usually had a full band set up in the studio aswell as many keyboard modules and instruments in the control room. Thats why weneeded a 100 input SSL. We could get a sound in 30 seconds flat, anyinstrument. Good sound bussed to tape ready to record in 30 seconds. Hisengineers were like Radar O'Riley. we anticipated what he would want next andtry to prepare for the next move. We were usually alerted as to when the wholeband was to come in and record and we were given a little extra setup time tomake sure everything was just so. I cant begin to tell you how amazing it wasto watch Prince work with his band. He could have just played all the partshimself but he quickly taught each of the musicians their parts and they puttheir slant on it and then we hit the record button. They picked up the musiclike ninjas. There was rarely a second take. They could easily nail 5 songsthey had never heard before in a 2 hour session. My biggest regret as anengineer was that we were not allowed to experiment with how things werepositioned or miced up too much. We had an amazing marble room which I thoughtwas way underused especially for more of the rock songs. We never made full useof what the facility had to offer, tie lines between the soundstage and all thestudios. We really could have captured some interesting tones with someexperimentation but we had to work fast so there wasnt time to be fussingabout. The soundstage would have made an intense echo chamber.

    Q: [As an engineer] do youfreaking hate compressors too?
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    Post by maxim9691 on Tue Sep 28, 2010 11:52 am

    A:I have mixed feelings, some guys swear by them but I like dynamics. I might dosome parallel compression nowdays if something needs to smack but for the mostpart i use em sparingly. I dont like to hear em working. that said ill alwaysstrap a good ole la2a across any vocal.

    Q: Thanks. There are rumors that he recorded the BlackAlbum while high on ecstasy that Ingrid Chavez gave him. I never believed that- it's just 180 degrees from everything else we've ever known about him anddrugs.

    The story is not that he recorded theBlack Album on XTC. It's that he decided to pull the Black Album after doingXTC with Ingrid Chavez, and he immediately started on Lovesxy. Susan Rogers hasa story about showing up at Paisley and finding Prince with all the lightsdown. He told her loved her, and she got creeped out and left.

    A:If its true too bad I wasnt there, Id have eatin a biscut with him and beenlike "youre not putting this out?" Id have put it up on thoseWestlakes and turned it up and been like.. Really? If he told me he loved me idhave been like " I love you too man" I would have made some funny assface and started pounding my fist in the air to 2 nigs. Ingrid is a hippie. Shedont get it. If the rumors are true i can totally see her steering him awayfrom the funk. Shes not funky at all. She doesnt understand the funk. If itstrue he needed to be around some funky ass trippers, not some hippie blood.again, all my opinion.

    Q: Thank you so much fordoing this thread. Any insight into how he works is much appreciated. Love yourstories so far. Hope you reconnect with Femi and hope you got the time in yourschedule to keep up with the flood you've started. Mic story is hilarious. Anymore unusual requests?


    Would love to hear moreabout the sessions with his father too. And also really interested in the idea of him sampling himself fromvaulted material (though many had guessed/figured this anyway, nice to have itconfirmed). I guess this is another reason why he doesn't like leaks if he isconstantly recycling or reinventing his catalogue. Any good examples of this?

    A:i could tell you how you could figure out almost every instrument that wassampled and flown in to every track of the entire time I was there. Its sosimple but I just cant give you that kinda power. dont pm me or try to bribeme. Im taking it to the grave. Just had to rub it in for a sec.

    Q: Hey chronic,nice to meetu. Do u know anything about the unreleased music videos Prince made. Kevinsmith said there were 50 finished videos in the vault,can u name any? and do uknow how prince felt about Michael Jackson? is it true they use to hang out atpaisley?

    A:The only story I know of about Michael is from the Purple Rain days and pingpong. Im sure you all know that one. Personally I never saw Michael J. RIP.

    I remember them making hella videos there around 95-96, like one a night. I hada friend on the video crew. Never saw any.
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:53 am

    Q: I've got to say Iremember reading your name on The Exodus album and all the singles and Come. Iknow it's not a very unpopular thing to say but these are two of my favoritePrince/NPG albums. So I have to start with a big thanks to all your work onthem. These were really life changing records for me so THANK YOU LOADS!!!. Icould go on and on but I guess I would just like to know if there are anystories surrounding the creating or recording of these two projects.
    Do any specific memories stick out about the recording of any of these tracks.Oh and how was Days Of Wild recieved around Paisley Park he must have knownedhe'd scorred gold (pardon the pun) with that one. Or any story you can remember


    A:I do remember that the Come record was my favorite record to work on, ibelieved in that record from top to back, i loved the lyrics. I havent listenedto these records in a long long time so im gonna have a listen in the next dayand mabye itll stir some memories. Thats if i can find them.

    Q: How did the song People without come about, that wasplayed live at 2 lovesexy aftershows. Was there ever a studio track, was itintended for an album?

    Also if you can, what do you think ofPrince's post you: output? Any favs/high points? Do you like the new cd's(Lotusflow3r et al) If you have listened to them that is?

    A: Im not sure Ive heard thatsong. as regards to his current output, I have not purchased anything norlistened to anything in many years. I know you all think I was just being awuss but it truly hurt to hear anything so I have avoided his music, I want tobecome a listener again so thats one reason im letting it all go. remember,this is a celebration. I can finally enjoy the music with all of you again.

    Q: Hey Chronicfreeze! Acouple of Rosie Gaines questions for you. I had the privilege of going to thelate night parties at Paisley Park in the early to mid 90s (the private onesthat were held in the atrium). I could have sworn that I heard Rosie on Sexy MFand My Name Is Prince in early 92. Am I mistaken? Also, did you do any engineerwork for her when she was recording her debut cd (that ended up gettingcanned)? Were you doing any work on Carmen's debut as well? If so, bet you werelaughing your ass off. Were you at all the shows he was doing at PaisleyPark/Glam Slam 94-96?

    A:I didnt track Rosie on either of those songs. I had taken an extended vacationto San Fran and was summoned back to record the horns on Sexy MF because of thehorn work I did on the George Clinton record. Im sure if you think its Rosieits Rosie. She was the only background singer around then. Yea im almost surethat was Rosie on Sexy MF. Wish I coulda worked on her record, Steve Durkee didmost of it. Im not talkin about Carmen again. Yes I was at all the parties. Whythe hell didnt anybody dance? that always bugged me. Were you at the party/showwhere Terrence Trent Darby made an 'appearance'. it was in studio C right offof the atrium, the room with the wood floors and mirrors. If you were there Iknow you are rolling on the floor laughing as I am. what a wanker!
    Q: I just wondered ifyou had any recollections about the sessions from around, I think, late 1993 orearly 1994 - around the time of his name-chance, when he was writing andrecording the new material that would be featured in The Beautiful
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:53 am

    Experience TV special, andfind its way onto Come and The Gold Experience. It seemed like it was a realcreative high for him, and a period of growth and reinvention. I really lovedall that stuff; and I imagine it was an exciting period.

    And, relatedly, did you get a sense ofwhen he was on a real creative high period (a 'purple patch', if you will [You must be registered and logged in to see this image.]) or was everyone just working soconstantly, it was hard to tell?

    A:pedal to the metal baby. I just cant figure out how this guy finds so much towrite about considering he's working so much. its just so amazing. I bet hestill keeps up the same pace, id love to know.

    Q: Another concern I haveis that your sharing the stories with us on this board and knowing Prince andhis so called web sherrif(IF they are still among us) MIGHT read this threadsince he is so protective of his "memories" with other employees.Certain employees/past associates have been served with cease and desist papersor books have been stopped from being published all on account of Prince OR hisarmy of lawyers. All because Prince dont want them to talk about their memoriesaka past with him. Ironic IMHO. If you signed a piece of paper saying certainthins can/cant be done without his permission even after being let go orleaving his circle stating such are you allowed to talk about you past withhim? And why are you allowed to when others are not without being servedpapers?

    A:great points. I have tried to contact him several times, but you try contactinghim. exactly. I got this hair brained idea from looking up Femi. The websitepopped up and i figured what the hell. I had another paisley stress dream lastweek and Im just ready for them to end. Its the only way he might get whiff.Desperate times call for desperate measures. I fully expect to be shut down butat least then ill know he might have read something. Like I said from thebeginning I really want to thank him, and I never got the chance. If it takesme getting in trouble with the thought police to do it so be it.

    Q: I realize it waschronics time with prince too but other associated emploiyees ARE getting acease and desist order FROM P lawyers and to NOT talk about their memorieseither. NOW they will NOT talk about their time with him cause of that.

    To answer your second question PRINCEand yet then when they(the associate) make a comment on a certain page they geta 3rd degree about it and say they want attention BS and yet this gets praise,as I said ironic IMHO they were telling us they arent allowed to share"their" memories and to put it the way THEY said it " Its THEIRmemories too!"


    Rather the threat P makeswill stand in a court of law or not is highly up to the courts not for me todecide. That was P doing NOT the associates for the orders against them. Fairis fair right?
    A:just to make the record clear this is not going to be an ongoing thing ipromise you. I want my post to stay up for a week so Im going to participatefor a week. By that time he should have been able to read it. When Im thru Imgoing to go sign off of here and go buy Musicology and see whats thats allabout. Ill play the music for my daughter and



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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:54 am

    we'lldance around the house together. You all can do with this thread what you like.I love my family way too much to get in trouble over memories.

    Q: with all this recording,does prince ever have time to eat...what r some of the guilty pleasures u'veseen him divulge in.

    A:the question is why the heck didnt he feed his engineers? we were there days ata time and there was no food close by. We were in Chanhassen darnit! Westarved!! He had a cook at the studio, how hard would it have been to throw acouple more chicken breasts on the stove? We were like rabid dogs, fighting forhis leftovers. thats the question?

    Q: Can you think of anyPrince/[You must be registered and logged in to see this image.] songs that were particularlygreat but have not been released? Songs that you really think it's a shame theyhaven't been put out at this point? I'm especially interested in the funkyones, the ones with the great bass work that you have talked about in a coupleother responses.

    A:yknow horny pony did it for me. 2 nigs united.. still there has never ever beena bassline in the world like 7779311. cant recall any unreleased tunes that didit for me like these.

    Q: What do you think werePrince's best albums and performances during the time you worked with him?

    A:I liked the diamonds and pearls record when it had "something this housefunky comes" as the first song. it wasnt released but it was a bad asscomp. as far as performances goes,there were so many great ones but he had aparty one night on the soundstage, just another Friday night. I have no ideahow they found people to come to the parties but this particular night hundredsof deadheads showed up which was a weird mix with the party regulars whopreferred to stand around lookin cool. Man these people brought the energy, twirlingand dancing the whole night. We were all feeling it. They wouldnt let Princestop playing. He played till 4:30-5am. When he finally stopped everybody was ontheir knees thanking him and giving him blessings. I think that was around thetime of the Endorphine Machine set.

    Q: So... you've mentionedyou play bass... got any stuff that you've played up on YouTube?

    A:played, played played. I was bad when I was in the zone. Me and Magoo from thecrew used to jam alot on our down time. He'd play drums and id thump thumpthump. its long gone im afraid. I still love a good bassline though.

    Q: So did you watch Princerip any guitar solos for songs like the extended jam of Scandalous Sex Suite??that was intense!
    A:yes, listening to him play gtr was one of my faves. That was a fun record. HeyI noticed theres a few gtr questions coming up so Ive got a pretty funny storyabout playing his gtr. He gave a party for the NBA players, cant remember theyear. It was a huge party on the soundstage. I just remember I saw downtownJulie Brown there and Salt and Pepper and Criss Cross. The joint was packedpacked i tell ya.Well It was going to be like a jam session. Prince played abit and asked anyone if they wantd to come up
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:54 am

    andjam. Now who the f is going to get up and try playin gtr right after Prince???right? Well the gtr player for soul Asylum is going to, thats who. So he stepsup grabs the cloud gtr that prince was playin and all he manages to get out ofit is some weird squeaks and feedback. He looks at Prince and says its broken.He's like "its broken? Lemme see" so he passes it back and Princehits this BB king soundin high note that just sung and says "its notbroken" and hands it back. Then this cat tries to play it again andmamages to get some weird clicking and chugging sounds and Prince finally says"Give it here!" takes the gtr and proceeds to make that gtr sing likea bird. This dude just slinks off the stage and I saw him 5 minutes latercussing out hig girlfriend in the hallway. I dont know what he was thinkin.

    Q: [Long rambling commentfrom org’er]

    A:Ya know earlier I was talking about the whole \"illegal music\" thing and how I think heaccidentally bootlegs himself by giving out copies of stuff and misplacingthings but of course Im sure it also happens from tapes he was required to sendto djs and record companies and promotions people. I just really dont thinkanybody that was working at Paisley was doing it. I guesss I cant speak foreverybody there but honestly what would be the incentive to \"illegal music\" his musicand give it away? you would have to be like some of you fans out there and noneof us were into it like that. We werent tape traders and collectors.

    Q: No...you are notrambling at all...In fact I love the stories about Prince good and bad...But I likethese stories from people who actually have worked with the man or who have hadan experience with the Midget, like yourself...Not from bitter fans…

    A:yknow Murf, theres only one thing thats bugging me and its that you keeprefering to Prince as "the midget" We all know the guy was short butreally who gives a Help!? Ive got plenty of short friends and tall ones too. Ijust cant take the piss out of someone because of the way they look or howshort or tall they are. If he read this thread it would hurt his feelings and Icompletely sympathize. The guy must have gotten ribbed throughout schoolbecause of it. Why do we have to talk that way about him as mature adults. andanyways, I bet he has a bigger d*ck that yours. kidding.

    Q: I noticed you passed onthe memories of the Gameboyz! Related note: Paisley Park had a"Sampler" that went around containing a bunch of songs offered toother artists. Did you ever have to work on that? Any details you're down forgiving up? It was a mish mash of material from the early 80's on through theearly 90's. Songs like "Go", "Adonis and Bathsheba","Big House", "Cosmic Day", and more.

    A:didn really have any memories of the gameboyz. the only sampler I rememberdoing was the 1800newfunk thing.
    Q: Remasters. A lotof us fans would love to see the Warner 80s albums officially remastered as theoriginal CD transfers were never that great sounding, the LP records soundbetter in a lot of ways. Since Prince's split with Warners and their battleover the ownership of the masters, we are worried it will never happen asPrince is not co-operating with them. Do you have an opinion on this or anyinsight? Were you privy to any talk about this? I know Prince was never one for
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:54 am

    recording over and overtrying to produce technically or sonically perfect recordings and in some waysits better that way as he knows how to capture the raw emotion in a recordingand lets the quality of the music over ride the quality of the sound. Iunderstand that, but it would be great to have remastered 80s albums with BSides and extended versions. Any insight?

    A:personally i think you would be disappointed if you heard any of the originalmasters. We all know that he mixed alot of his own songs right? Yes weengineers would be able to help out every one in a while and in some cases do Amix but he always had final say. Like you said he would rather capture the rawemotion over a technically perfect mix. what I noticed with alot of the earliermasters was how oversaturated the master tapes were. By that I mean that thereis a certain level of operation that the tape can handle before distortion.when you start reach the point of distortion, there is a quality of sound thatmany desire "the tape sound" slightly compressed and punchy. Alot of themasters were past this point and just couldnt take anymore level. He did likepushing the mix buss of the mixing board but in some cases i just think it waspushed too much. one thing I always tried to do was trim the level back at themachine we were mixing too so at least the level to tape would still be loudbut just not distorting. Now the board would still be hot but at least the tapewould be at a proper operating level. alot of the earlier stuff, when you putit up on the machine, the vu meters would just be in the red and not budge. Ithink you should just enjoy the records you have now, given how hot they wereprinted I think the masters sound fine.

    Q: From your recordingsession days, do you have any memories of times where Prince would give you ajob to do and leave it with you and you had to deliver something to satisfyhim? Anything come to mind that you slaved yourself on and was really proud ofyour work and gave it to him for a listen and got some great feedback? What didit feel like to impress his ears as a perfectionist that we know he is.

    A:good question. there were several but Ill just give you the top 3. #3 hide thebone #2 loose #1 the Cream 12" I edited several of the songs on the12" but the q in doubt mix and the etherial mix i believe. He just said"make me a song" and handed me 4 reels of pieces. He was in thestudio with Ray making pieces and I was editing stuff together. I ended up with6 reels of tape which I edited into 2 songs, well id call them dubs, not songs.By the end of the night I had tape on the walls, tape on the floor, tapeeverywhere. I used to love editing tape. I was able to do some pretty trickystuff as well. Doing transformer scratches with leader tape. I had a bad habitof not making safeties of any of the masters I was cutting. I just had to makesure I was on the money. I had a ruler subdivided into beats, 16th notes,triplets. It was so fun. having the gtr solo then the organ then they starttrading. I gave it to him and he listened to it and watched all these editsflying by and then says he says "was that edit right there out oftime?" with kind of a half smile on his face cause like 100 edits had justflown past and they were all on the money.
    Q: Lastly, duringthese 2-3 days recording sessions, how did he write and perform so many tracksin such a short time frame? Did he come to the studio with a bunch of new songsalready composed but not performed and he spent the time jamming and teachingthe band how to play? Or did he solo perform the basic tracks himself firstwith bass or guitar or piano and then bring in band members to add tracks overit? How did he conduct those sessions? I guess the bigger
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:56 am

    question is if you can shedsome light onto the creative process? How many tracks were created on the fly?You must have been amazed watching and being part of this.

    A:I think I might have touched on this earlier. from my experience, if the bandwas going to record, he already had the songs and all the parts in his head andsaid play this, and they would play it, and they would work it up from theground up, but so quickly. I was blown away by how fast they all learned stuff.Never saw him play a demo for any of them ever. Like 1 said earlier, 5 songs in2 hours. If you have ever been in the studio you realize how hard that can be.Thats 2 hours from then walking in. they got to get headphones together and getcomfy and talk for awhile. You aint never seen anything like that and what agreat group of people, always so courteous.

    Q: You said he punished youand Kyle for singing Prince karaoke? Why was he so mad about that? In what waydid he punish you?
    A:oh you caught that did you? Yea me and Kyle fucked up that day. Well it was allKyles doing anyways. We were waiting for Prince at the studio and decided totake a run to Tower records. We got back to the studio and Kyle has this shiteating grin on his face. Im like, what gives? and he pulls out of his towerrecord bag a Prince Karaoke tape. Im like "hell no, I cant sing" buthe is insistent and says he will go first so we patch in the cassette recorderand hook up a mic in the vocal booth and thus we fashioned probably the worldsmost expensive karaoke machine. Kyle sings lets go crazy and does a reallyterrible job of it, screaming and cussing. He was a funny guy so I was crackingup. He gets done and its my turn and I sing When doves cry. Thinking back on imso embarrassed, I was trying to sing it in this falsetto voice and its crackingand just terrible but I managed to get Kyle rolling on the floor. So we get doneand Kyle has to go show it off so he goes and finds Rain who was the clientservices girl and plays it for her. We were all pretty good friends so she saysthat she HAS to play it for her best friend later so she takes the tape andputs it in her pocket.

    Now she was friends with Prince too, so he finally gets to the studio and goesinto the lounge and has Rain come in. Me and Kyle are setting up. suddenly wesee Prince run past the door. Rain comes busting in to the studio and screams"oh my god he has the tape!!!" and at first we are like what tape butit suddenly sinks in, the Karaoke tape! Rain says she went to sit down and heheard a cassette rattling in her pocket and asks her what it is and she says"nothing" So he takes the tape and runs out to his car. Now Im surehe thought she had some \"illegal music\" of something we had just given her so he wentout to the car to listen. All I can picture is him thinking he had uscaught,puts the tape in, the organ from the intro of Lets go crazy starts andthen.... Kyle. Classic. Suddenly the bodyguard comes back in, finds Rain,throws her over his shoulder and they are out the door. Me and Kyle areshitting. Time stood still. I was sure we were fired. Sure. We wait. We wait.We wait. and then the phone rings.

    Kyle answers it and all i hear is "hello, yea. yea. Lets go crazy. Yea.Well i really dont know how to sing. no. no. yea that was him. ok." andhands the phone to me. "so if it isnt mr when doves cry" he says in asarcastic voice. Im cowering and manage to squeak a yes out. He wanted to knowwhy we were making fun of his songs. fair question. I tried to explain to himthat we werent making fun of his music at all, we were making fun at ourselvestrying to sing. He wantd to know why we didnt grab a Michael Bolton tapeinstead if his. I was like we didnt know any of Michael Boltons music. I thinkhe finally
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:56 am

    understoodwe werent trying to hurt him but it wasnt nearly over yet. He says since we gota good laugh off of him he wanted to get one off of us. He asks if we will givehim a laugh. Of course we say sure. He says "come on up to the mansion!youre gonna come right?" and I say of course. Now this guy has never hadus up to the mansion except to deliver tapes. That was the longest drive ever.It was also the quietest. My heart was beating hundreds of bpm. WE finallyarrived and were met by Joey the bodyguard who is acting suspiciously serious.he says"come this way gentlemen" We follow him to the back of themansion. We sit in lawnchairs and wait. Suddenly Prince comes out the backdoor. "well what are you waiting for, Jump in." he says. Me and Kylelook at each other, look at the swimming pool and say you want us to jump in? Istart taking off my shoes and he says "nope, with all your clothes on"What are you gonna do. we jumped in, I even had my glasses on. When we got outJoey asks us if we would like a towel. Of course we say yes and he hands us awashcloth. touche. It was funny. everyone was cracking up at us. I thought itwas funny. It was innocent and fun. The worst part was we had to drive back tothe studio soaking wet and finish the work for the night.

    Looking back at it I felt bad. We never thought that it might hurt hisfeelings, we really only were trying to laugh at each other but I can totallyunderstand where he was coming from. He could have fired us in a split secondbut the path he chose taught us a valuable lesson and was fun for all of us. Heknew we were crapping ourselves on the drive up there. He really got the lastlaugh.

    Q: Do you know what synthwas used for the looped sound at the beginning of U Got The Look and alsoMadhouse's Nine? And do you know if it was a custom or stock sound?

    What effects processors did Prince runthe Linn through while you were around? If you remember Joy In Repetition fromGraffiti Bridge, the long version of that song has a Linn kick echoing at thebeginning with some cool effects for a while and eventually moving into thebeat that you hear on the Graffiti Bridge version. I have always wondered whateffects processors he used for that intro. Any ideas?

    When he would record the sped up ("chipmunk") guitar (and sometimesbass) parts (i.e. like on the Hello 12" or Erotic City) - do you know howmuch of that was varispeed and how much was Eventide (or Publison), or whatsettings were used?

    What do you remember about using Clare Fischer's string parts or working withthem? A lot of those arrangements are pretty sick.

    Did you enjoy Prince's bass playing on Love Sign? I always though that song wastight even if the whole 1 800 album wasn't.

    Would Prince record the funk guitar parts direct or through the Boogie oranother amp? Did he still like to do a couple of similar rhythm parts and panthem when you worked with him?

    A:looped keys and madhouse records before my time.

    Im not going to give away any Linn drum secrects, lets just put it that he hasa linn drum pedalboard. I never seen anybody PLAY a linndrum like that.

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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:57 am

    thepitched up stuff was before my time but as an engineer im sure he sped the tapeto 1/2 speed, played the parts down an octave and at 1/2 speed and then spedthe tape up. it just sounds like that. Lots of people did that. It was prettycommon practice to do that.

    know what I remember of Claires strings? they were mental!! the best thing aboutthem is they usually only took up 4 tracks of tape. that much sound on 4tracks. Amazing.

    Lovesign was a song that was pretty powerful for me. It marked a point in mylike where that was exactly what I needed to hear. the bass part didnt stickout to me as much as the chorus. I was 100% about throwing up the lovesign. Youknow those songs that you hear and you say "wow he wrote this song forme" that was one that I was sure he wrote for me.

    sorry I cant remember much about the direct guitar stuff. I just cant rememberif it was di or amp. we never reamped anything so mabye I could tell fromlistening to something. you probably could as well.

    Q: one question, in yourtime at paisley did prince always use click tracks for studio recording? orwould some of the more live off the floor band takes be without? can u everremember a particular time when a session went badly or prince got frustratedwith things not running smoothly/quickly? not trying to turn it negative oranything, just another bit of insight into his vibe when things go less thanperfectly....

    A:who needs a click track when you got the best funk band in the biz. they werethe click track. I cant remember anything not running smoothly or quickly, wewere trained for speed and we were master troubleshooters, when you got a guylike Sal Grco as the head tech, even when something broke it was fixed fasterthan you would ever believe. the only thing that would slow us down was thePublison, and I know all you paisley engineers lurking know what im talkinabout. Im not talkin bout how we used the Publison so dont even ask. that thingsucked

    Q: Was this revisiting ofthe Black Album brought about by Warner Bros imminent release of it in 1994?Did Prince seem OK/resigned to it being finally released?

    A:you know I cant answer questions like this. Im not Prince. I have no idea abouthow he feels. youre gonna have to ask him. Im just a gear geek.

    Q: it made me wonder whatperiod and how many transfers you did. were you transfering older material totape (ie. early 80s), or just the material that had been more recentlyrecorded? how many tracks do you think you transferred? are we talking dozensor hundreds? how many tracks do you think could be in the vaults in total? iget the impression that most of the tracks are different songs, unlike thebeatles vaults that contain a dozen or more takes on many tracks (i'm quitefamiliar with the beatles recording sessions)
    A:All i remember about that was we were given a list of songs with librarynumbers, which someone would retrieve. if there was a mix already of it wewould dump it to a cassette. if there was no mix then someone would do a quickboard mix and dump it. Thats how I found out about all the shedding. we had toclean the heads of the tape machine on some stuff after every pass. Im sure itwas just stuff that hadnt been
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:57 am

    copyrightedbut it was hundreds of songs. the only purpose of all this was for the lawyersto get copyrights. hope he could trust his lawyers...

    Q: Could you describe asbest as you can Prince's drum set-up? I imagine the kit is pretty spare, whatsize is his bass drum, what brand of ride cymbal, etc? Also, I know that youcouldn't get inside Prince's head, but did he ever give a reason behind usingelectronic percussion vs. live drums on particular songs? He seems to go backand forth between the two quite often.

    A:at the time it wasnt princes drum setup, it was michael blands drum setup. Imsure you could find some interview he did for modern drummer. That was one bigboy. On the other question yea, again I cant answer for him. probably just aproducer being a producer

    Q: What are you memories ofthe Batman album? It was full of samples. He was obviously trying to create avery futuristic sounding record, sampling himself plus all the movie clips.

    Also how and when would he decide topull out an older song from the vault and use that in a new album. For exampleJoy in Repetition was pulled out of an earlier session from years before. Andthen Tick Tick Bang was completely re-recorded from the original 81-82 eraversion. Any thoughts or insight?

    A:Memories of the batman album, thats the first thing I got to do. Femi was theengineer, i was the second. I remember the meeting between Tim Burton andPrince. Princes manager made us wear these batman tee shirts. I think Tim justwanted him to do 2 songs for the movie. He ended up scoring the entire movie. Iremember going to the opening and being totally disappointed on how little theyactually used. Ill say it right here right now, Princes score of Batman was somuch better than Danny Elfmans.

    Batman also marked our first experimentations into digital editing. Companiesused us to try out new technology. A company would come in and train a few ofus on something and we would put it in the studio and hope that Prince would becurious and want to try it out. Like I said earlier I was totally into editingso I always gave the new editing systems a workout. The first one we tried outwas the AMS Audiophile. It was used in post production alot but they weretrying to break into the music market. I got trained on it, did a few testedits and we brought it in. We were getting ready to do the batman 12" sothe timing was great. At this time I dont even think there were recordable cds.Prince saw the big black box and asked what it was and we told him it was adigital editor. He seemed intrigued so he had Femi and I do a competition. Femiwas on the tape machine and I was on the AMS. he gave us a series of edits todo and before Femi could finish the first one I had em all done, Im notbragging, Femi was a master tape editor, its just that it was that much faster.We did the whole 12" on the AMS and then sent it back. Several otherediting systems came and went but none of them ever made it into the sessionuntil the Akai DD1000 came out. We actually bought one of those.

    My thoughts about why pull an older song for a comp? In my opinion an album isnot just a random collection of songs but more of a theme. If you had a songyou hadnt released and it fit the theme of your new album wouldnt you use it? Iwould. I dont think its anything more than that. Just my opinion
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    Re: Q&A With Paisley Park Engineer, David Friedlander

    Post by maxim9691 on Tue Sep 28, 2010 11:57 am

    Q: When Sheena Eastonworked with Prince on U Got The Look,The Arms Of Orion and La La La Hee HeeHee,did Prince struggle to understand her accent?Did he kid on with her,in afriendly way of course? I know its dumb but as a Scotsman I need to find outfor my fellow countrymen and women

    A:before my time.

    Q: How was your fistencounter with Prince? When did you actually meet him the first time and whathappened? How did you feel?

    A:good question!! I mean what is the first thing you would say? I had worked atthe studio for months and then out of the blue it was my turn. Sal thru me inthe studio and said be cool and closed the door. I had gone over in my head1000 times what I would say. He came in and I stumbled over my words "uhum Im c.c.croniccc f.f.f.freeeze and I reallly ammm hhhonored t.t.to" Hejust goes "yea, could you go downstairs and grab this tape." Heresthe messed up thing. I had to grab a tape that had just come back from LA. Itseems the assistant that worked on the session had recorded over the first halfof the song they recorded out there with alignment tones. He sat there andlistened to alignment tones then the song cuts in on the last chorus and endsand he gets up and leaves.I bet he was pissed but he was very civil. Imthinking "&%*$, im glad that wasnt me that did that. thats one firedassistant!" so there you go, a tune you will never hear cause some studioassistant recorded over it.

    Q: You might want to grabLotusflower too, the latest one from this year. It tends to span pretty muchevery style Prince has done this decade, with the first disc being more organicsounding, and the second more electronic. Most people regard it as a better setthan Musicology. A lot of people like 3121 too, which is a very concise poprecord.

    A:Im getting them all, I really want my little girl to get into it. The best partof this new stuff is I dont have to worry about any vulgar language or cussing.Not like her dad.

    Q: Was Chaos & Disorderas quickly recorded and angry as reported or a typical session? Any storiesabout that album? It seems like Come is the album you had most input into?

    A:I dont know why but for some reason Chaos and disorder just draws a blank. ivereally got to hear it. If i remember corectly a number of the songs wererecorded while they were rehearsing for a tour. Not the best fidelity becausethe performers monitors were blasting but an effective way to get the job done.We actually tie lined to the rehearsal studio and recorded from there. thismust have been around late 95-early 96. I do think we mixed the title track inParis at Guillame Tell studios. Does the snare drum on that track have this explosivereverb on it? Guillame Tell used to be this old theater, it was gigantic. I canvaguely recall mixing it and we set a pa system up out in the studio and ranthe snare thru it and recorded the microphones that were way back up in thebalcony back to tape and used that in the mix. Im almost sure it was Chaos andDisorder.
    Q: On the NPG pointwith a Diamonds & Pearls or Exodus did you witness a true group ethos orwas it essentially Prince directing the band as per a solo setting? Manythought the 1998 NPG album NewPowerSoul was solo in all but name for

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