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Factory Preset
    - Bob Fugett

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The First Ever Commercial Release of All Original PC MIDI Music

Fugett Sound : the music and of Bob Fugett

 

 Sugar Loaf, NY 10981



 


Updated Dec 16, 2016 | By Bob Fugett

    Prime Instigators

Prime Instigators

Projects such as Factory Preset never occur in a vacuum. Below are credits where credit is due.

Danny Littwin

Since the original release of Factory Preset, Danny has accumulated 6 Emmys and 3 Grammys to his list of credits. Although his hands were not on the actual mix or performances for my album, his input was invaluable. At that time he was passing through all the large studios in NYC and had a wealth of knowledge about what made great sound, great music, and great production.

He came up with a modification to improve the noise specs for my mixing console and helped replace the op amp chips to make the changes. He also played guitar in my band Roadwork and was a major part of that sound.

I used to grab him to go to AES (Audio Engineering Shows) in New York City.

Some of the oddest moments in my career were when Danny would mention that he did the sound for the Mets home games, and a roomful of people would gasp, "No way ... that is your bat sound? Impressive!"

At the Met games Danny would be running 36 inputs with satellite uplinks on a 32 input board by swapping connections out like an old timey phone operator while keeping a running total of the game commercials in his head.

He performed similar tasks while working with me to record outside musicians during the construction and testing of the studio for Factory Preset in a back side room of the Endico watercolor studio that was called Fantasy Factory at the time.

At AES shows Danny introduced me to Rupert Neve, John Meyer and others.

It was a time when everyone involved in music composition, recording, and performance was intimately involved in understanding and improving the technology, looking for that illusive sound which to outsiders seemed vague and ill defined but to music insiders was very specific and quantifiable.

People would often spend three 12 hour days in a row just setting up the drums for a recording session which entailed tracking down the source of hundreds of spurious resonances that would seem to appear out of nowhere.

It was before musicians could claim the release of 7 CD albums (or more) without knowing the first thing about recording, sound control, and production.

Now musicians can walk into a studio, perform a sort of karaoke, and lay claim to musical and artistic genius.


 



 

 
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