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“I had been an assistant engineer on the big Whitesnake album that Mike Stone produced. David Coverdale was very happy with what I did on that, so when it came time for him to do the record with Jimmy Page I got the call to work on it.
“Meeting Jimmy Page…wow! You try to be cool in all of these situations, but come on, this is Jimmy Page! It was pretty unreal. And what a great guy he turned out to be.
"Very friendly, very collaborative. I mean, he knows what he wants, and he really doesn’t need anybody to help him make records. But there are times when he does want second opinions, and he’s open to them.
“Working with Jimmy was definitely a learning experience. He knows so much about amps and miking. One day I had put a mic near the center of an amp, and he said, ‘Why don’t you try putting the mic off to the side? That way you don’t get the attack sound, but you still get all the fullness.’ And he was right.
“I got an even bigger lesson on another day. He had recorded about six or seven acoustic parts to a song, all of these layers. Then he went home. I stayed behind and listened to the takes. I thought some of them were a little untidy, so I cleaned them up a bit. Nothing major, but a little fixing here and there.
“Jimmy came back the next day and listened. ‘What happened to my guitar parts?’ he said. ‘Oh, I just cleaned them up a bit,’ I said. ‘Well, put them back the way they were,’ he said. ‘They’re supposed to sound that way.’ And he was right again. What I thought was a little off wound up having the energy and the feel that only comes from Jimmy Page.”