Table of Contents

Foreword by Sir Paul McCartney
Acknowledgments

Chapter One. But I’m Not Qualified, Mr. Ellington!
Chapter Two. The Beginning: Early Days, New York, New York
Chapter Three. Learning from the Greats
Chapter Four. The West Coast Calls: Los Angeles in the Sixties and Seventies
Chapter Five. Like Riding a Bike
Chapter Six. Mixing: Philosophically and Pragmatically
Chapter Seven. Practicalities: A Day in the Life
Chapter Eight. Artists, Friends, and Mentors: What I’ve Learned
Chapter Nine. Life’s Been Good to Me So Far: Life Lessons and the Secrets to My Success
Chapter Ten. Some Closing Thoughts

Appendix A. Working with Al
Appendix B. Recording Session Layout Diagrams
Appendix C. Selected Discography: The Essentials

About the Author

Al Schmitt has worked with the best and brightest in the recording industry, including Jackson Browne, Dr. Dre, Bob Dylan, Frank Sinatra, Barbra Streisand, Usher, and Neil Young, to name just a few. He has recorded and mixed over 150 gold and platinum records and earned twenty Grammy Awards and two Latin Grammy Awards for his work by such artists as Ray Charles, Natalie Cole, Chick Corea, Quincy Jones, Diana Krall, Luis Miguel, Paul McCartney, Steely Dan, and Toto.

Schmitt was inducted into the TEC Awards Hall of Fame in 1997, and received a Recording Academy Lifetime Achievement Award in 2006. In 2015, he was presented with his own star on the Hollywood Walk of Fame in front of the Capitol Records building – the first engineer to be so honored. He lives in Los Angeles.

Maureen Droney, currently Managing Director of the Recording Academy Producers & Engineers Wing, is a former recording engineer for artists including George Benson, Aretha Franklin, John Hiatt, Whitney Houston, Tower of Power, and Carlos Santana. Prior to joining the Recording Academy, she was the Los Angeles editor for Mix magazine, as well as a contributor to numerous other performing arts publications. She is also the author of the book Mix Masters: Platinum Engineers Share Their Secrets for Success and coauthor of The Pensado Papers, about the rise of the audio industry web phenomenon, Pensado's Place. She lives in Woodland Hills, California.

Reviews

Even before I first worked with Al in the early 1970s, he was a recording studio legend. Al mixed my 1973 album The Way We Were and a duet I did with Frank Sinatra in 1993. He was at the control boards again in 2009 on an album I recorded with Diana Krall. He’s always a consummate professional who cares deeply about his craft. In addition to that, he’s a fellow Brooklynite, so we speak the same language! Al deserves the many accolades he’s received over the years from his fellow music industry colleagues.
*Barbra Streisand*

Al knows how to record and leave the mojo in. He made so much of the music we know and love possible; when you’re stumped, you can always ask yourself, ‘What would Al Schmitt do?’ For a while, people used to say that Elvis sold the most records. Then it was the Eagles, Michael Jackson, and U2. But nope; the truth is, Al Schmitt has sold more records than anybody!
*Joe Walsh*

Al’s definitely the best engineer who has ever worked with me. It’s a shame it took me so long to get with him. He knows how to get the authentic traditional sounds—the sounds that made us all fall in love with records.
*Bob Dylan*

Al is the master. I love it when he gets pissed off. He is great.
*Neil Young*

I’ve been fortunate in my career to have worked with some great people, and I would have to say the list would be topped by Al Schmitt. Al came into Jefferson Airplane world with experience and creds that would boggle most minds. That he was somehow able to exercise his creative expertise with this bunch of musical anarchists is a testimonial to both his art and his patience. . . . I will always be proud to have worked with him!
*Jorma Kaukonnen, guitar player, Jefferson Airplane, Hot Tuna*

In 1967, Al Schmitt was asked to produce Jefferson Airplane’s third studio album, After Bathing at Baxter’s, for RCA. This was really wonderful news to all in the band, as we had heard that Al had such a great musical ear, and would, as we soon found out, be our ally in all things musical that we were reaching for. Our experiences in the studio so far had been somewhat difficult. We were trying out new sounds and vocal combinations, distortion, feedback, and some just plain wacky stuff. After getting much more control of our studio situation from a new contract with RCA, Al was right there with us as we experimented in the studio. . . . I shall always treasure the many, often late-night sessions with Al, and consider myself so fortunate to have had the great honor of working together.
*Jack Cassidy, bass player, Jefferson Airplane, Hot Tuna*

My career at Capitol Studios has been intertwined with Al’s workmanship for twenty-seven years now. . . . I first experienced the awe resulting from his work during Natalie Cole’s Unforgettable sessions; I heard him create an emotional masterpiece for Natalie, her family, and all present. We at Capitol are so blessed to be his home base.
*Paula Salvatore, Vice President/Studios, Capitol Studios*