Tony Visconti
Tony Visconti
Anthony Edward "Tony" Viscontiis an American record producer, musician and singer. Since the late 1960s, he has worked with an array of performers. His lengthiest involvement with any artist is with David Bowie: intermittently from Bowie's second album in 1969 to the 2016 release Blackstar, Visconti produced and occasionally performed on many of Bowie's albums...
NationalityAmerican
ProfessionMusic Producer
Date of Birth24 April 1944
CityBrooklyn, NY
CountryUnited States of America
I also mixed David Bowie's Young Americans album in 5.1 earlier this year and it will be available very soon. Even the original stereo mixes have been re-mastered and sound amazingly good, better than ever, in fact!
It is easily overlooked that what is now called vintage was once brand new.
Fortunately I own a vintage brain, and I am alive and well in the 21st century, still making records, still working at an intense pace and most of all, still having fun doing it.
You don't necessarily need expensive gear or giant budgets to reach an audience.
You could make some great sounds with technology. That's what recording is all about. What happens in the studio is very magical, and should be, in my opinion.
We always started these albums as making demos, that went right on until Scary Monsters.
I grew up to the sound of live music in our Brooklyn household.
My father had a brilliant scholastic record in high school and was awarded a college scholarship. Unfortunately he had to turn it down so that he could continue to support his family.
Despite a few really bad days we had quite a lot of fun making Low, especially when all the radical ideas were making sense and things were starting to click.
Computers have virtually replaced tape recorders.
But some great records are are being made with today's technology and there are still great artists among us. Likewise there are artists today who are so reliant on modern technology, they wouldn't have emerged when recording was more organic.
In August most of Europe goes on holiday.
Pop was initially ignored as a moneymaker by the recording industry. In the seventies they were still relying on Frank Sinatra and Tony Bennett for their big hits. You know, most of the budget for the record companies in those days went to the classical department - and those were big budget albums.