GC PRO ADVISORY BOARD: Husky Hoskulds

Husky has a wonderful sense of humor and a great laugh. He loves the unconventional and is constantly looking for projects that will give him a new experience. I have learned a great deal by observing his methods and the unique way he uses his gear. Husky will be around for a long time and I look forward to watching his career evolve.

People from Iceland are scary. No, we're kidding. Husky's very funny and nice and makes great-sounding records. He just looks scary. I may drink a lot of coffee, but it really has no effect on me. The legendary custom-built API console at Sound Factory in Hollywood. Husky digs analog gear, both old and new... ...and state-of-the-art digital tools too. Here's his uber-powerful portable Logic system, complete with dual monitors, CPU, and controller. When he's finished working on a gig, it folds into a flight case. What will they think of next? Little telephones you can carry around with you? The engineer in his natural habitat: surrounded by gear and holding a beverage.

GC Pro: Give us a little background on yourself, on Iceland, on your influences, on when you got the audio bug. HH: Moved here from Iceland in '91 - went to UCLA for engineering. I have always loved music, as well as the tech side of things, so engineering seemed like a perfect mix of the two, especially since I can't play an instrument to save my life... GC Pro: What was your progression through the ranks once you got to LA? HH: After a year of school, I got a job as a desk guy at One on One studios in the valley. Worked there for about six months, before taking a job in Hollywood (at Grandmaster) as an assistant - with Jack Joseph Puig. Did that album, moved on to Hollywood Sound for a year or so (which was a waste of my time), and eventually landed a job at the Sound Factory. I started working with Tchad Blake and Mitchell Froom, and would eventually start handling more and more of the engineering duties with Tchad, especially on the projects he was doing double duty on (engineering and producing). I was still working as an assistant at the Sound Factory when I started recording Michael Penn's record MP4 over at Sunset Sound. I would work at the Sound Factory Monday through Thursday, then get someone to fill in for me on Fridays (Tchad only worked five-day weeks anyway), so I could record Friday through Sunday with Michael. That then turned into full time overdubs, and finally mixing the whole record. Next project was the Wallflowers' "Breach", which Penn co-produced, and after that I pretty much went freelance GC Pro: Tell us about some of your more recent projects. HH: Just finished a couple of records with Fantomas. Also, in the past couple of years, I've done albums with Tom Waits, Joe Henry, Solomon Burke, Wallflowers, Michael Penn, Grant Lee Phillips, Turin Brakes, Derek Trucks Band, and Norah Jones. [NOTE: In 2003, Husky received two Grammys for his work on the Solomon Burke record "Don’t Give Up On Me" and Norah Jones’ "Come Away With Me".] GC Pro: Describe your current directions with recording technology. What are some of your favorite tools (both modern & traditional)? HH: Right now, my setup consists of both analog and digital. Three unique and fully integrated systems, actually. I record and mix 90% of my projects at the Sound Factory here in Hollywood. There I work on a custom API console, and record everything to 2" tape and mix to 1/2" two track - both at 15 ips with Dolby SR. Then, for the analog/mechanical processing, I've got three P.A. systems to get things off tape and out into the rooms. That way, I can simulate anything from a close-miked speaker cab or an old grammophone to a large sounding drum room. All these channels (close mics, room mics etc, for each P.A.) come back on an automated Behringer mixer, which then sums with the API into the stereo mix. And for the digital processing, I've got my computers setup for live plugin processing and automation of effects parameters, either inside the computer, or via MIDI, for things like the Filter Factory or the Line 6 rack stuff. I've got one G4 with Logic, Melodyne, Pro Tools, etc.; a G4 laptop for extra plugin power, quick editing, etc.; and one PC running VST plugins and synths that are unique to that platform. Also, having the Logic controller, I can use the automation there (with the tracks running through the computer), when I run out of faders on the API. Right now, I'm using the computers separately, but there is a company making a cross platform Ethernet/FireWire router which will enable me to pull up my PC-VST plugins inside Logic, on the Mac, so I'm looking forward to that one. Also, with the FXpansion 'wrappers', I can use VST plugins in Logic, and Pro Tools, so things are becoming a lot more compatible than they were a couple of years ago. GC Pro: Where do you thing recording technology is headed? HH: Right now, all the coolest development is on the software front, no doubt. Just the fact that out of all the hardware out there, nobody has managed to improve upon what we had 30 years ago, says a lot. You see people using the same compressors, same mic pres, same mics even, that they were using 30 or 40 years ago. GC Pro: What are you excited about? HH: Software is where it's at right now. The G5's are going to improve things even more. Once the developers start to come out with 64-bit native applications, host-based processing will blow up. Problems like latency, plugin delay, etc., will be all but gone, and it will allow me to use the computer even more as a piece of outboard gear. Powerful programs like Melodyne, and big VSTi's like the Chameleon, N.I.'s Reaktor/Kontakt will run even faster (which we like) and smoother (which we hope...). Also, the fact that I can use programs like FxTeleport to link several CPU's, PC or Mac, seamlessly, or Wormhole, Jack or Rewire to get in and out of apps on the same computer is great. GC Pro: What bums you out? HH: All this amazing software, allowing us to do things that were impossible five years ago, and then seeing the majority of engineers get stuck with Auto-Tune and (Pro Tools') Beat-Detective, because most record companies are signing crap bands. GC Pro: Do you think recording professionals will need to diversify more (scoring, video games, etc.)? HH: I've been lucky enough to work with an incredibly wide range of musicians and have done almost every style of music. I've worked with people like Ornette Coleman, Dave Hidalgo, Derek Trucks and Marc Ribot, singers like Mike Patton, Susanna Baca and Solomon Burke, done records with Tom Waits, Fantomas and Joe Henry as well as Sheryl Crow, Norah Jones and the Wallflowers, so I think that's the best kind of "diversification". Unfortunately, most engineers / producers get stuck making one "brand" of records. So to try to branch out into video games or soundtracks would be kind of pointless -- like going on a vacation to China (to "broaden your horizons") even before you've ever gone to Sea World, or the L.A. Zoo, let alone New York City or San Francisco. GC Pro: What are your outside interests? What else are you really good at? HH: Cooking and dining. I never work Sundays, and my favorite thing is to cook for my family when I have time off.