top of page



13th February 2020

The name Peter Granet may not be instantly recognizable to you but after reading this interview, you will be scrambling through your record collection and undoubtedly sitting in awe of the people he has worked with, the moments of Rock history he has witnessed and the memories he recollects for us here about Van Morrison, ELP and The Rolling Stones. This is the first of a two-part interview, part one of which we did by phone; the second will be done when he is here in March to record performances with his latest recording artist, Evan Wish. 


A word or two about your background…


Q: Where did you grow up and what was your upbringing like?


PG: I grew up in a household in New York City. My parents were culturally involved and we listened to Classical music and Jazz – there was no Popular music at all in my house. I learnt about Popular through school and my friends but Doo-Wop didn’t do anything for me but when The Beatles came along…hello! It was a different world. The Beatles harmonies I believe were modeled after The Everly Brothers arrangements. I actually worked with The Everly Brothers when I was working on The Johnny Cash Show back in 1970 and I couldn’t believe it. They were wonderful with great harmonies and melodies…anyway, back to The Beatles. Their music was unlike anything that songwriters were writing at the time. It was a break from the formulaic Pop of the sixties, the Tin Pan Alley writers who from what I’ve heard, a lot of them would record tracks without melody and then put different melodies over the same track to save money. When George Martin who of course was classically trained started adding woodwind and cello in classical arrangements to The Beatles’ songs, it was Wow! The Beatles were moving us away from what Paul McCartney would later say ‘silly little love songs’ into something so much more powerful and original. To this day, Rubber Soul is still my favourite pure Pop song album ever recorded.


Q: How did you get into the business and what was your first job?


PG: It was a Christmas party in New York City and I met a guy named Gary Kellgren who wound up being one of the owners of Record Plant. He was an incredibly creative guy and we became very good friends – we were at each other’s weddings – and it was him who was instrumental in getting me in. I was going to go to go and get a Masters in psychology and thank God I didn’t! (laughs) I started out recording children’s choirs for the Southern Baptist Convention on a two-track in an old church I Manhattan. They put out records every month of what they wanted all the kids in their churches to be singing – it was a beginning and that’s where I learned that you don’t splice tape with a razor blade that may be magnetized (because every cut creates an audio ‘bump’ that needs to be cut out). So I learnt the hard way but I loved it.



Q: There’s some albums you’ve worked on I’d like to talk about and first, Van Morrison’s Wavelength. You are credited on that as the Remix or Additional Remix Engineer. In your opinion, what – if anything - was wrong with the original mix?


PG: I was asked by the producer Brooks Arthur to remix. Brooks isn’t credited as producer; he should have been but because of whatever contractual things he couldn’t be so he took credit as the mixer and I was the additional mixer but the fact is, I mixed it and you don’t go beating up the people who are feeding you work. I haven’t been back there for decades but that’s ok, it’s one of the prices that we pay. I’ve done enough records to know that if you don’t get the correct credit on one of them, it’s no big deal. Getting back to the remix, when I say Brooks asked me to remix, I don’t know if it was mixed in the first place or not because when I got to Record Plant in Sausalito where I mixed it, I don’t know if it was anything other than rough mixes. I wouldn’t say there was anything I would have known to have done differently – I just did what I could. One of the funny things about it though is that Van was living up in the hills above the harbor and he would come down in the afternoon about 4pm or 5pm after we had been there since 10am mixing his songs and he’d say ‘Oh no no no…don’t….I want…’ and he’d go through this thing about how he wanted it changed and ok, so we would do it and he would leave – he wasn’t interested in staying around to see if it got done right. Then the next day, he’s doing the same thing, he’s not there so we probably took twice as long to mix that album as we should have because instead of being there in the morning and saying what he wanted, we were always going two steps forward and then one step back. We got it done though. I wasn’t crazy about the recording quality but that wasn’t my job. The big hit was Wavelength but I kind of liked Kingdom Hall because it really bounced for me.


Q: ELP was their live album Welcome Back My Friends To The Show That Never Ends. Famed for their live performances, you stated in Circus Raves magazine in 1974 that “It was the finest recording experiences I’ve ever had.” Could you elaborate on that a little bit for us?


PG: I was working at Wally Heider Recording and one of the things it was known for and was extremely good at was location recording. We had several trucks that were set up with 32 track boards and two 24 track tape machines. These were not ‘locked-up’ to give 48 tracks but we would start the second machine recording five minutes before the first tape ran out to give us plenty of overlap where we could edit the tapes together if we wanted to. The recordings were done for and paid for by King Biscuit Flower Hour radio show and it was to be broadcast in Quadraphonic. During the recording, the house mixer had these huge Quad P.A. stacks with room mics set up all around to record in Quad and somebody who I guess was high on something started climbing up one of these stacks just as the house engineer punched the bass drum into it. It blew him off that stack into the audience.


Q: Wow!


PG: Yes! I don’t know if it was the power of the air pulse did it or just the surprise but it actually did happen. Anyway, we get into Heider’s to mix this and we have it set up for a Quad mix with the speakers in the back. My concept was to make it sound real; no funny business, just make the person sound like they are right in the middle of the audience in the third row and you are hearing the sound bounce off the walls with people behind them cheering and stuff like that. So for the most part, what we had in the back channels was some room sound and some reverb that I had delayed. King Biscuit took that and did the broadcast and as part of the deal with ELP, the ½” four-track masters were given to Manticore so they could make a live album. Now whoever was I charge of that, did not look at what was written on the track sheets and notes for each song because at one point, Keith had an organ solo he wanted to whip around the room which we did by putting it on a Quad-panner that moved it around the space we had created. Now, when I got my copy of the finished album which is in stereo, I hear the solo start on the left and pan across to the right but when on the Quad mix it moves to the back, the solo just disappears! That’s what happens when you don’t take the time to think about what you are doing – they forgot about the back mix. Isn’t that crazy? (laughs) What they should have done is mixed the front and rear left together and the front and rear right together but they didn’t. Mind you, that would give them another problem because they would be compounding reverbs that were meant to be separate. It may have even been too much but anyway, that’s what happened.


Q: Whilst we are on ELP, I found a reference from May 1974 in Billboard that says you were working with Carl on a solo album at Wally Heider Recording. Do you recall anything about that because Carl never actually released anything solo until 1980?


PG: I don’t remember that at all! I do remember being in the studio and doing something but I don’t remember it being anything specific. He may have come in, set up his drums and played them for a while and we recorded but t never got released – that happened a lot – but I really don’t know.


Q: You also mentioned in your emails that you worked with Mick Jagger…


PG: Early 1972.  I was working at Wally Heider recording.  Mick Jagger and company came in to record lead vocals against pre-recorded tracks -the song was Tumbling Dice.  First night was the lead vocal overdubs and the second night was mixing the song.  Andy Johns was Mick’s engineer and I was the Heider engineer. My job was to set up, mix the cue mix and handle extra faders during the mix. That said, Andy was “The Man”.  That night, before mixing began, Mick entered with Bianca Jagger.  I was blown away when he approached me and remembering my name from the night before, introduced me to Bianca.  I’ll never forget that moment as long as I live.  Low keyed at all times, I was star struck!  Lost for words…


Q: We have so much to talk about Peter* but for now, let’s talk about Evan Wish…yet another genre into your CV, how did you meet up with him?

PG: I went to a party and I was talking to this lady and in the background I heard this incredible music. I asked her whose music it was and she said it was Evan Wish who happened to be at the party and asked if I would like to meet him and I said ‘Sure, I’d love to meet him.’ As I said, I grew up in a household listening to Jazz and Classical and the melodies of this music I was hearing was just so incredible. I met him and said that any time he wanted to go in the studio, I would be happy to record him at no cost. I wasn’t interested in the money, I just wanted to get his music out there. I’m not even getting paid for the Japan tour as I just love the man and his music. To be honest I don’t really know where it fits in; it’s not Classical, it’s not New Age…it’s Evan and there’s only one like him. Evan is a kind of unsung hero with this luscious mood music and whoever hears it, they love it.

Q: How did you go about recording him?

PG: This last album we did we cut it at Village Studios which used to be Village Recorders when it was owned by Geordie Hormel. I cut a lot of tracks there and it’s one of my favourite rooms in the world. We go in and what do you know, there is the 72 track Neve 8078 console that I did so many tracks on. I could have just jumped on that console and made love to it right there! Too me, nothing else comes close; the Trident boards are great and there are lots of good boards but the Neve is my favourite and they also happened to have an old tube SM microphone with a figure 8 going out the side and a cardioid looking forward and I always wanted to use one of those on a piano Up until that point, Evan and I had been recording in the standard ORTF** configuration set inside the piano but this time I wanted something more graceful so we used that one tube mic and it was incredible. I had it about three feet away from the piano and then two Neumann U67 tube mics back about 8’. Those all went through the Neve and then onto Pro Tools. It was luscious. They had a Steinway 7 ½’ B that was old and given to the studio by Oscar Peterson and of course we tried it but it was so bright…too bright. It was great for Rock ‘n’ Roll or Jazz or if you want to articulate notes but not for Evan so I chose another piano which was mellower and that was the right choice.

Q: Are you recording the shows here?

PG: Yes I am! We are doing it in Kawasaki which will be very interesting as it’s an unusual room. I’ve bought myself a Sony MS mic that I’ll put on the piano as well as the two inside which we will record to Pro Tools.

Q: Aside from the upcoming shows with Evan, what other plans do you have for 2020?

PG: I’m looking to work with young, eager engineer /producers who want to learn the studio techniques I’ve used for audiophile recordings.  Teach the classic techniques as I work with professionals and students on their significant projects.

Don’t want the skills and concepts of dynamic live recordings to be lost to future generations of engineers and producers.

Q: Peter, I’m sure we will talk for hours when you’re here. Looking forward to meeting you in person.

PG: I’m looking forward to meeting you as well. I love your picture – you remind me of me when I was your age! God bless and see you soon!


Part II of this interview will be available from March 15th. In it, Peter talks about working with Crosby, Stills & Nash, Eddie Rabbit and George Harrison.

**  Devised by the Office de Radiodiffusion Télévision Française (ORTF) Two microphones set at approximately 110 degrees, 20 cm apart.


ピーター・グラネット インタビュー2020






Q: どこで生まれ育ったのですか?

PG:ニューヨーク市内に暮らす家庭で育ったんだ。両親は文化的なことが好きで、クラシックやジャズを聴いていた。家でポップスがかかることはなかったよ。ポップ・ミュージックは学校で友だちに教えてもらったんだ。でもドゥ・ワップなんかは知る由もなかったよ。でもビートルズがやって来て世界が変わった!ビートルズのハーモニーは、エヴァリー・ブラザーズのアレンジを倣ったものだと思っていたよ。1970年に「ジョニー・キャッシュ・ショー」で実際にエヴァリー・ブラザーズと仕事をしたことがあるけど、信じられなかったね。素晴らしいハーモニーとメロディだった。それはよしとして、ビートルズだね。彼らの楽曲は当時のソングライターの誰が書くものとも違っていた。60年代ポップスの常識を打ち破るものだったんだ。僕が聴いていたティンパンアレイのライターたちは、メロディを置かないリズムトラックを作り、その上にいろいろなメロディを当てはめていくという形で多くの曲を作っていたんだ。費用を節約するためにね。もちろんクラシックを勉強したジョージ・マーティンがビートルズの曲に金管楽器やチェロなどを重ねたりしたから、それはもうワォ!というしかなかった。ビートルズは、後にポール・マッカートニーが「Silly Love Song (ちょっとした下らないラヴソング)」と称した曲で僕たちの世界を変えたんだ。パワフルでオリジナルなものでね。今でも『Rubber Soul』は僕の一番の気に入りのアルバムだよ。








PG:プロデューサーのブルックス・アーサーにリミックスするように頼まれたんだ。そうすべきだと感じたのだろうけど、契約上の問題か何かで彼自身ができなかったからなんだ。それで彼がミキサー、僕がアディショナル・ミキサーとしてクレジットされた。でも実際には僕が全部ミックスしたんだ。仕事をくれた人をないがしろにするわけにはいかないしね。もう何十年もそのことには触れてなかったけどね。でもまあいいか、僕が確かにやったことの一つだからね。正しくクレジットされていないアルバムは他にもあるよ。大した問題ではないんだ。リミックスの話だけど、ブルックスが僕に命じた時、それが最初のミックスかどうかが分からなかったんだ。ソーサリーノのレコード・プラントに行った時、ラフミックスなのかどうかさえ判らなかったからね。それらしききちんとしたものはなかったと思う。だからやれることをやったまでさ。面白かったのは、ヴァンは港の上の丘に住んでで、午後4時か5時頃にやって来るんだ。午前10時からずっと僕たちがミキシングをやっているのに、そんな時間に来ては「おいおい、だめだよ。そうじゃないんだな・・・」なんて言うんだよ。それで彼の望むようにまた変えて、彼がオーケーを出す。それでもう得心した彼は他の事は何も気にせずに帰って行く、って感じだった。ところがその翌日、彼はまた同じ事をやったんだよ。現場に彼がいないところで、僕たちは二度アルバムのミックスをやり直したんだ。朝の現場に彼がいない時点で僕たちは2段階進んでいるのに、彼がやって来て希望を伝えてくる。すると1段階戻る、という具合だったんだ。でもやり遂げたよ。レコーディングのクオリティに関してはきちんとやったけど、それは本来の僕の仕事じゃなかった。『Wavelength』はビッグヒットを記録したけど、僕は『Kingdom Hall』の方が気に入っているんだ。


Q:ELPとの仕事は、ヒットした彼らのライブアルバム『Welcome Back My Friends To The Show That Never Ends』でしたね。あなたは1974年の「サーカス・レイヴス」誌で「これまでで最高のレコーディングだった」と語っておられました。そのことについてもう少し詳しくお聞かせいただけますか?










PG:1972年の初め頃だね。ウォーリー・ハイダー在籍の頃だ。ミック・ジャガーと何人かの人たちがやって来て、ベーシックトラックにリードボーカルをレコーディングしたんだ。曲は「Tumbling Dice(ダイスをころがせ)」だった。最初の夜はリードボーカルのオーバーダビング、次の夜はミキシングをした。アンディ・ジョンズがミックのエンジニアを務めていて、僕はハイダー側のエンジニアだった。僕の仕事は機材の準備と取っ掛かりのミックス、ミックス中の余分なフェーダーの操作、だった。アンディこそが中心人物だったんだ。あの夜、ミキシング作業の前にミックがビアンカ・ジャガーと入って来た。そして僕に声を掛けてくれて(彼は作業前日に僕の名前を覚えていた)、ビアンカに紹介してくれたんだ。感激したね。このことは生涯忘れない。ここだけの話だけど、スターに参ってしまったんだ!言葉も出なかったね。






PG:最新アルバムは、ヴィレッジ・スタジオで仕上げた。元はジョーディー・ホーメルが所有していたヴィレッジ・レコーダーズだったところだ。あそこでたくさん曲を仕上げたよ。あそこは世界中で僕が一番好きな所なんだ。72トラック搭載のNeve 8078というコンソールがある。あそこのコンソールに座れば何でもできる気分さ!僕にとっては他では味わえないフィーリングなんだ。トライデントのボードも立派だし、他にも凄いボード完備のところはいろいろあるけど、Neveが僕の気に入りなんだよ。あそこにはサイドが膨れた8の字型の古い真空管のSMマイクや使うのが楽しみなカージオイド集中型マイクもあるんだ。僕はいつもそれらの一つをピアノ用にセットしたいと思っている。エヴァンと僕はピアノの中に標準型の ORTF**を配置してレコーディングしているよ。でも今回はもっと優雅な感じを出したかったから、真空管マイクを使った。凄く良かったよ。それをピアノから3フィート離して、2本のニューマンU67真空管マイクを8フィート後ろにセットしてね。それらをすべてNeveを通してプロ・トゥールズに繋いだんだ。いい感じだったよ。あそこにはスタンウェイ7 ½’ B という古いピアノがあるんだ。オスカー・ピーターソンから譲られたものだよ。もちろん僕たちはそれを使おうとしたんだけど、音が明る過ぎたんだ。ロックンロールかジャズをやったり、はっきりとした音にしたい分には向いているんだけどね。でもエヴァンの音楽には向かない。だから他のピアノを選んだ。もっとメロウなタイプをね。いい選択だったと思う。










**・・・Office de Radiodiffusion Télévision Française (ORTF) このが考案した配置。2本のマイクを約110度の角度で20cm離してセットする。

Anchor 1

As noted at the end of the interview, Peter is currently looking for new projects and to work with upcoming engineers and producers in 2020. If you wish to contact him about working with him, please do so at

bottom of page