Mashing Frei Pane 16 over and hum lirde things in vour car. When he’s mixing he’s like nuts behind the board. He makes motions like the sound he’s making — it was fun working with Scratch, Studio One (Coxsone Dodd) was more relaxed. Scratch will interfere with the song that vou brought in. Coxsone, on the other hand, will allow you to do whatever you want to do. He had a litde backroom where he spent most of his time and soie- times when he was going from the office to the backroom he would have to pass through the studio and sometimes a song, would catch his ear. He would really like it and stick around for a while. Or if it was a happening session — one of those magic moments where everything's right and nice and sweet. Sometimes he would stick around for that. But for the most part he would allow you to do what you want to do. Then when its finished he would decide if he wanted to put it out. Rather than dictate whaz you're doing he allowed you to put your creativity out. I don’t think the sound engineers in Jamaica have g got the amount of props they should. ‘They used to coach the singers and musicians. They'd say “Play your tom trom the side — get that sound from the side instead ofin the middle” or “play exactly in the middle of the snare.” They had litde technical things to sug- gest that would help the musicianship. When it comes to dub, the sound engineers were mostly responsible for that. Finnish group expands focus Michael Becker News Editor mbecker@nsnews.com B xwekxk Varttin’ — Vibma (Wicklow/BMG 1999) Music category: Finnish fusion. What started during1983 iu Karelia, the southeastern region of Finland, as a project to explore and revive the Karelian/Finno- Ugric musical tradition has evolved into an exciting wodd- beat adventure. The vocals can be harmonically complicated and often reminiscent of The Bulgarian Women’s Choir, or downrignt Smurf-like. It’s the bright energy of the music and arrangs- ments that really carry the day. Tuvan throat singers, flute, . saxophones, banjo and berimbau make this Finnish record- ing 2 veritable multicult pig-out. See Zombies Page 22 ladies’ men’s ‘children’s maternity _ SALE ‘ON FoR THE ENTIRE MONTH oF FEBRUARY bby’s stud JG: Did you work with Scientist in Kingston? tHnton Fearon: When Scientist first started out fe was a young kid in his teens. [think he started at Studio One then he went over to Tubby’s and then came back to Studio One. At that time I started playing down at Studio One on a regular basis. I remember one day they were doing a session and Scientist had just come back from Tubby’s where they used the levels all fancy-style. Coxsone kept walking back and forth in the studio. You could see that Coxsone was uncomfortable about something and chen he broke down and said: “Tell me some- thing — did Tubby send vou over here to mash up my studiv?™ Scientist didn’t get a chance to work there for long after that. JG: Was the equipment different at the two studios? Clinton Fearon: Studio One had more equipment. It had two boards — an old tour-wack and then Coxsone recondi- tioned his studio and brought in a big board with brand new stuff. Sometimes he would operate it — he would operate it as if you were dealing with eggs or something. Very carefully. So when Scientist came in and was throwing those knobs up and down — pure style — Coxsone couldn’t handle that at all. JG: Why did you choose to move to Seattle? [4st ANNIVERSARY | Hurry in for best selection. Many more store items on sale. Chaise Lounge ree. 1.000 ow $800 Feather soft seating. Covered in white jacquard. Assorted Sofa & Loveseat combinations Various styles to choose from Sofa & Chair rep. 2080 Now $1295 Covered in blue chenille with biege piping. Leather Sofa reg. 2.3 Burgundy waxed leather. Sofa & Loveseat reg. 2,360 " Light green velour. Occasional Chairs starting from $432 Various Loveseats starting at $495 Friday, February 4, 2000 - North Shore News - 19 Clinton Fearon: Our last tour with the Gladiators was in 1987. We finished the tour and had some extra time on our visas and we called up Charlie Morgan who was living in Seattle. Some of us from the Gladiators came back here and established the Defenders. We played for about six months and developed a good follewing in Seattle. During this period one of the band, Clinton Rufitss, went down to Jamaica — because we had indefinite visas back then we decided to use it to our advantage and go back and forth, work some, go out spend some time and then work some more. The immigration people sent Rufus home saying that he was spending more time in the United States than in Jamaica. They told him that he could apply for another visa in pve years — by mail. Hearing that and already having something established here I said “I better get my papers together” which took another five years, By then I’m established here, I'm living here and it becomes home. JG: What differences do you see between digital recording technology and the older analog methods? Clinton Fearon: The old techniques were a little warmer. It depends on how you do it. Digitally you can patch things up and clean it up and sometimes it ends up a litle too clean. But then again digitally if you know what you’re doing — if the engineer knows how to manipulate — they can capture a lot of the sound digitally; it all depends on who's behind the beard. {t always has. Bration . A designer look at an off-the-floor price Eggert and Sheryl Rasmussen help you get what you want; sofas, loveseats, » sofabeds, sectionals and chairs. Their i clients play an active role in the creation of what they buy. 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