![]() Sean: The thing that we discovered, kind of by.In the post-pandemic world, how can we rethink the future of education as a system, process, and tradition to make lasting changes? This thought-provoking book by Sean Slade reminds us that education prepares students for their futures and yet has become stuck in the past. Paul: That was a really good cheap reverb and if you readers can find one, I would get one. Sean: Another one that we used a lot, especially on the Dinosaur Jr. And we had a TC2290 very early on, which we used for delay and for sampling. Sean: If you look back at the original sound of a lot of the Fort Apache stuff a lot of it had to do with the PCM 70. We had one black 1176 and then we had the stereo Brooke Siren. Sean: It's funny, the one compressor that we ended up using quite a lot, was the Brooke Siren stereo compressor. Also a lot of the sessions used AKG C-451Es for drum overheads.ĭo you remember any of the outboard gear you were using? I think the first tube mic I got was that Sony C-37B. Paul: We just basically used those 412s - we had a pair of those and that was it. Sean: That was probably the only other classy condenser mic we had. Paul: We didn't have a lot of great mics, maybe we had a Neumann KM-86. Sean: If you have a handful of 421s you can do a lot. You can use them on tom toms, you can use them on guitars. Paul: Yeah, we would use those on every session, those were like the main mics on everything. Sean: That was probably the key to the overall sound, because we used those for drum overheads. ![]() Paul: We had a couple of good mics - a couple of AKG 412s. Black Francis was out there screaming in a room that was just so enormous. The Pixies album uses a lot of that space. It wasn't strictly speaking our space, but we would just drag mics out there. I mean, it was the size of a football field. We were really being urban pioneers and it was the very early days of urban renewal down there in Roxbury - we had this huge warehouse and it was just wide open. But the best thing about the studio was that it was in this huge empty warehouse. For the Pixies we brought in a 16-track, one of those Tascam MS-16s. It was an 8-track studio with an 8-track board. Paul: We had a Neotek Series 1 console, which was pretty old even at the time, but a good board, and an Otari 1/2" 8-track. What gear was in Fort Apache at the time? Paul: Yeah, I engineered the first one with Gary.We did 18 songs and sent it to Ivo at 4AD and he picked the 8 that are on the first EP. ![]() Paul: He came in to produce the Pixies and sort of stayed on as studio manager.ĭid you guys work on any of those Pixies records? Sean: Then Gary showed up in the latter part of '86, early part of '87. When did you start working at Fort Apache? We had a pretty good time playing the bars and colleges of the Northeast. Then probably later in 1981 we found one and that's when we became our new wave band the Sex Execs. We got a bunch of gigs and had some interesting musicians, but we realized we needed a lead singer. We had a band called Mod Lang, which was named after the Big Star song, and that lasted about 9 months to a year. How long have you guys been working together? I recently caught up with them while they were in L.A. ![]() That experience was one of the musical highlights of my life. Gerald was signed to Warner imprint Revolution and the label sent us to Boston to record with Sean and Paul at Fort Apache. I had the privilege of working with them while I was a member of Gerald Collier's band. Looking at the resume of Sean Slade and Paul Kolderie is like reading a who's who of '90s rock: Radiohead, Hole, Dinosaur Jr., Uncle Tupelo, Mighty Mighty Bosstones, so on and so forth. ![]()
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