Gish: Difference between revisions
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== Recording == | == Recording == | ||
''Gish'' was recorded from December 1990 to March 1991 in Butch Vig's [[Smart Studios]] in Madison, Wisconsin with a budget of $20,000.<ref name="patch">{{cite news |title=Out of the Patch for Smashing Pumpkins |work=Chicago Tribune |date=June 21, 1991 |last=Kot |first=Greg}}</ref> Vig and Billy Corgan worked together as co-producers. The longer recording period and larger budget were unprecedented for Vig, who later remembered, | ''Gish'' was recorded from December 1990 to March 1991 in Butch Vig's [[Smart Studios]] in Madison, Wisconsin with a budget of $20,000.<ref name="patch">{{cite news |title=Out of the Patch for Smashing Pumpkins |work=Chicago Tribune |date=June 21, 1991 |last=Kot |first=Greg}}</ref> Vig and Billy Corgan worked together as co-producers. At the time, Vig was still a relatively unknown producer.<ref>https://www.billboard.com/articles/columns/rock/7386036/the-smashing-pumpkins-billy-corgan-gish-at-25-classic-track-by-track-look-back</ref> The longer recording period and larger budget were unprecedented for Vig, who later remembered, | ||
<blockquote>(Corgan) wanted to make everything sound amazing and see how far he could take it; really spend time on the production and the performances. For me that was a godsend because I was used to doing records for all the indie labels and we only had budgets for three or four days. Having that luxury to spend hours on a guitar tone or tuning the drums or working on harmonies and textural things ... I was over the moon to think I had found a comrade-in-arms who wanted to push me, and who really wanted me to push him.<ref name="eq">{{cite journal |title=Signal to Noise: The Sonic Diary of the Smashing Pumpkins |work=EQ Magazine |date=October 2008 |last=Thomas |first=Richard}}</ref></blockquote> | <blockquote>(Corgan) wanted to make everything sound amazing and see how far he could take it; really spend time on the production and the performances. For me that was a godsend because I was used to doing records for all the indie labels and we only had budgets for three or four days. Having that luxury to spend hours on a guitar tone or tuning the drums or working on harmonies and textural things ... I was over the moon to think I had found a comrade-in-arms who wanted to push me, and who really wanted me to push him.<ref name="eq">{{cite journal |title=Signal to Noise: The Sonic Diary of the Smashing Pumpkins |work=EQ Magazine |date=October 2008 |last=Thomas |first=Richard}}</ref></blockquote> | ||