Source: http://cool.syntrillium.com/closeups/freed .From the Crowes Nest: http://qfg.tierranet.com/crowesnest.html

Introduction: Audley Freed

For this Cool Edit Profile we were quite fortunate to catch up with Audley
Freed, guitarist and songwriter.

Audley took some time from his world tour with The Black Crowes to share some of
his views on writing, recording and philosphy.and of course his uses of Cool
Edit Pro.

Audley grew up playing guitar in the southeastern US, influenced most heavily by
such greats as Billy Gibbons, Jimi Hendrix, Jimmy Page, and others, all of which
have lent to his bluesy, "roots-based" style that lends itself so well to the
guitar driven, R&B/rock groves of the Black Crowes.

Prior to joining The Black Crowes in mid-1998, Audley headed up the gutsy 4-
piece band Cry of Love, paying his dues touring to all corners of the US. Cry of
Love's two Columbia Records releases, Brother and Diamonds and Debris are ample
evidence of Audley's heartfelt songwriting and guitar craftsmanship.
"There are many degrees of success in this business, but I don't think anything
tops the feeling of being a part of creating something you are proud of."

Audley Freed interview by Steve Fazio, Syntrillium Software:

Q: We really appreciate you spending some of your well-earned time off from the
big tour to talk about music and gear! How do you enjoy being on the road?
A: Well, there are plusses and minuses to everything in life, and touring is
certainly no exception, but having had the opportunity to see places I never
thought I'd visit (or play shows) is by no question priceless. I have played
guitar in bands at pretty much all levels from Starkville, Mississippi to
Shibuya, Tokyo (and in the words of the Rev. Billy Gibbons, "all points in
between"). The thrill of a good live show is an experience that can't be put in
to words. Great food out there, too!! Having said that, I do love my wife, couch
and grill! [Laughs]

Q: This current Black Crowes tour is taking you all over the world. What has
been your favorite place so far?
A: Two nights in L.A. with Oasis at the Greek Theater was a highlight - the
Greek is a beautiful setting and the stage sounds great. Brescia, Italy in a
town square with Neil Young was great. Radio City Music Hall in New York City
for three nights was a thrill. Got to watch Willie Nelson on the banks of the
Mississippi as the sun set just before we went on in Memphis.

Q: The previous Crowes tour of course included Jimmy Page with the band, where
you performed and recorded Crowes and Led Zeppelin songs. This must have been
amazing to play with one of your musical heroes - how was this experience for
you?
A: Yes, the perpetual adolescent bedroom guitar player in me (looking up at the
Jimmy Page poster on his wall) still can't believe it! I found a collage the
other day I had made from old Circus and Creem magazines when I was a kid and
sure enough, there was Jimmy with the dragon suit and the violin bow, and it
stopped me dead in my tracks again. To rehearse those songs with the guy who
wrote them, working out parts even he had forgotten was beyond belief (I still
don't believe it!). Then we got to play them in front of people! My experience
with Jimmy was that he was gracious, forthcoming and having a blast playing.
Standing face to face discussing what the parts in a song were and who would
play which was something I'll never forget, to say the least!

Q: So how would your describe your position within The Black Crowes?
A: I am primarily a role player. I get called on to do things that suit my style
both live and in the studio. The songs constantly evolve during a tour, and you
find improvised ideas weaving their way in and around the recorded arrangements.
For example, on a song like "Young Man, Old Man" [from the Lions album] in the
studio I play a sort of "Meters" style clean funk part on a Fender Telecaster in
the outro, whereas live after that part we extend the vamp and I switch over to
a "fuzzed-out" Hendrix/Ernie Isley type of sound for an extended guitar solo.

Q: How do you typically approach your songwriting - do you work more from lyrics
or melodies in your head, or do you primarily use the guitar as your
inspiration?
A: It happens a number of ways. Sometimes I'll have a melodic idea in my head,
whether it's a vocal part, a guitar line, or something that I might think
another instrument should play. I'll always flesh-out at least the instrumental
ideas out on guitar. Sometimes ideas come from noodling around on guitar just
having fun - these usually are quick and most of the time lead to good songs or
at least riffs. Lyrics are usually written after a melody idea is established,
although sometimes a chorus hook will come to me bundled with instrumental ideas
too, kind of a musical "Happy Meal" if you will. [Laughs]. I also like to write
from the drums up - a great beat or groove can inspire lots of cool ideas and
that's always a fun way to work.

So usually a song either presents itself quickly and concisely, or a seed of an
idea gets worked and reworked with a lot of experimentation and crafting. I've
found both of these ways can lead to good songs, and both can also lead to the
trash can!

Q: Obviously the great guitarists of the 60's and 70's and the blues are big
influences on your playing and writing style. What other artists and types of
music do you find inspiring today?
A: I don't typically listen to a lot of newer music, although there are some
things out there that I think are great, and it's always a pleasure to stumble
across something new that is exciting. One new thing I really like is the new
Doyle Bramhall album Welcome. Recorded all live, great songs, great band, great
sounds, wonderful singing and killer rock guitar playing. To hear a band that's
able to really play and capture a meaningful performance is a rarity today. His
1999 album Jellycream is great also. Lucinda Williams' last two albums are also
great for a number of reasons, not the least of which being her stunning vocals
and lyrics - a perfect antidote to today's antiseptic "female vocal gymnasts." I
quite like Sheryl Crow's records also. Tom Petty and The Heartbreakers make
outstanding records and are a great live band Los Lobos' records are also great
and infused with a spirit rarely heard these days, and the Crowe's drummer Steve
Gorman gave me the new Merle Haggard album which is nothing but the real thing.
So there's a lot of good stuff for every taste out there, you just have to put
forth a little effort to find it.

Q: Your music with the Cry of Love seemed to depend heavily on varying guitar
tones and textures. Do you spend a lot of time working out guitar parts?
A: Since Cry Of Love was a trio instrumentally, we worked hard to make the
interplay between the bass and guitar interesting, and I'd complement that with
different guitar sounds accordingly, all the while not sacrificing the live band
feel. We kind of used the limits of the format to go beyond them! So that's one
way to do it, but it really depends on the song and the situation. If a song is
based on a riff or hook, I'll spend time crafting the main guitar parts and
build the others around that. Sometimes the other parts will be meticulously
worked out in advance of recording, others will come to life by trial and error
in the studio. One fantastic thing about having Cool Edit Pro is the lines
between home and studio are disappearing - I can not only use Cool Edit to work
out parts but to record them as keepers right here. A lot of times I will
instinctively know what kind of sound I want for the different guitar parts in a
song, and usually these prove to work. If a song is not particularly guitar
based, I'll construct parts to complement the instrumentation, but sometimes an
improvised performance is much better to capture the interplay and vibe between
the instruments and players.

As for solos, some of them are worked out, particularly in more melodic songs),
as in Saving Grace [from the Cry Of Love album Brother ]. I am a big fan of
Queen's Brian May when it comes to these "song within a song" types of solos -
you can sing them just as easily as the main vocal hook. Most of the solos on
the more rockin' Cry Of Love songs were just off the cuff, although some evolved
over time by playing the songs a lot at rehearsal and listening back to the
tapes. The solos on Greasy Grass River and Ozone Mama [on the Black Crowes Lions
] were just improvised in the moment. So you see, there are all kinds of methods
that work for different things.

Q: What gear do you use for writing and recording these days?
A: Right now I'm using Cool Edit Pro on a PC with a Pentium III processor, 256
MB of RAM and a 30 GB hard drive split into two partitions - one for software
and one for music file storage. I've got some great Event PS-5 monitors that are
powered and insulated and I'm using Frontier Design's Wavecenter PCI sound card
and their Tango 24 converter. I can't say enough good things about the Frontier
Design stuff -- NO problems since I started using it, sounds great and the tech.
support is fantastic (thanks Charlie!). Most of my guitar tracks are done with a
Line 6 POD which sounds great and is convenient. I also use the Line 6 Delay,
Modulation and Distortion effects pedals - fantastic for recording and again
convenient and don't take up much space in an already overcrowded bedroom! My
signal is also routed through a Mackie 1202 mixer that I use for
monitoring/recording levels and some EQ, plus for its mic preamps.

I use a Shure SM 57 for most miked things, although I just got a Shure KSM 44
and can't wait to try it. For keyboards (and my wife is a keyboard player, so
it's very convenient), I use a Hammond XBII for organ sounds along with a
[MotionSound] Pro Motion 3 Leslie-type horn. I also use the Pro 3 for guitar.
For electric and acoustic pianos, Mellotron, and string sounds, I use a Roland
1010 synth module. This stuff is all very space and neighbor friendly, but I am
working toward having a room big that will be insulated enough to record a live
band - I get closer with every piece of gear and every new bit of knowledge
about the recording process.

Q: What role does Cool Edit Pro play in your song writing?
A: Like I said earlier, it's extremely convenient in a lot of ways to help
flesh-out songs, plus your results sound great. Having access to 64 tracks makes
trying out parts fun and uncomplicated, and you can keep as many takes as you
like and pick and choose when you mix, not to mention being able to move stuff
around and edit. Sometimes the recording process really dictates the direction a
song will take. I might start out with an idea on acoustic guitar and watch it
grow into something better than I had initially conceived. Also it's easier than
ever to put down ideas when they strike. It's like a microcassette, 4-track and
professional studio all in one - plus the clock isn't running and you don't have
to count hours.

Q: What aspects of Cool Edit do you find most useful?
A: Being a late-comer to personal recording, and also not a very "tech" minded
person, I have to say that the ease of use is my favorite thing about Cool Edit.
The results you can get without having to be a computer genius or a great
engineer are astounding. It allows me to do things musically that were
unthinkable a few years ago. I am still a big believer in playing my instrument,
so I use it as a tool and not a crutch. I don't believe in "creating" a good
performance - I like to use CEP to help me realize one. Like I said, I'm working
on having the space to use it with a whole band. Its editing features are
extremely helpful arrangement-wise, and the effects sound great. I use the
compressors right now more than anything else. Since I don't have the space to
record live drums, the editing window is also great when it comes to making drum
loops from records to use as inspirations for grooves and riffs, or sometimes
even whole songs. Finally, you guys at Tech. Support and everyone at Syntrillium
are super - you really seem to care about "the Peoples" !

Q: Do you have any tips for recording guitars you would like to share?
A: Since I am making demos here my approach to guitar recording is limited by
the amount of space I have. I am using the POD for just about everything,
although I also use an old Airline amp sometimes -- put it in my bathroom and
put a Shure SM57 on it and it sounds cool. The biggest thing for me when
recording guitars, direct with the POD or otherwise, is to not overdo it
distortion or effects-wise. I find the guitars will always sit in the mix
better, especially if there are two or more, when you think moderately on these
fronts. I like the "Tweed Blues" and "Black Panel" settings on the POD, and
"Small Tweed" for extra gnarly, mid-rangey sounds. I like to use the Airline
with a Reverend Drivetrain distortion pedal in front of it for playing solos -
nice and smooth without being over-compressed and buzzy.

Once again, I try to trust my ears ahead of time when trying to match a tone
with a part I'm hearing in my head. For the most part, I've found the sound will
be dictated by the part, although sometimes trying a different tone will make a
part come alive. Cool Edit makes it easy to do all this stuff. The best advice I
have is use your ears - I'm certainly no engineer but can get in the ballpark by
doing this.

Q: What are some of the songs or musical recordings you are most proud of?
A: Most everything really. I think both of the Cry Of Love records are special
for the amount of work that went into them, the music we made, and the
experience of creating something other people find joy and inspiration in. With
the Crowes I'm glad to be able to make a contribution that adds some spice to
the overall mix.

Q: It sounds like all these aspects of your music keep you very busy indeed. Are
there any specific projects you are working on now, or plan on releasing in the
future?
A: I have so much fun playing, writing and recording music with different people
that I always hope to stay active doing that. I probably will get around to
doing something on my own sooner than later, and because of programs like Cool
Edit the possibilities are becoming more wide open for that sort of thing every
day. I'm now able to make really good sounding demos for all kinds of purposes.
I recently gave an instrumental track I recorded here to my buddy Warren Haynes
from Gov't Mule. He wrote a melody and some lyrics and next thing you know I'm
in the studio cutting the track with Gov't Mule with Larry Graham on bass!! I
feel like the quality of the demo I was able to give him really made a
difference - the song idea was pretty much fully fleshed out so Warren could
hear really hear what the tune was all about. Now it's gonna be the first single
from their new album titled The Deep End out this fall! The single is titled
Life on the Outside. I recently got a laptop and a Roland UA-30 interface, so I
am going to try Cool Edit, along with Acid and a POD, on the road this fall as
well.

Q: Any advice you would care to offer for those considering a career in music or
recording?
A: If you really love it the same rules apply here as elsewhere - define your
goals, work hard, be prepared to sacrifice, and even though there are ups and
downs, try do it all with a positive attitude. In order to be "at the right
place at the right time" you have to figure out which place works for you and
keep going there until "the right time" comes along. There are many degrees of
success in this business, but I don't think anything tops the feeling of being a
part of creating something you are proud of.