A Look Back With Scott Hull

Nirvana-Nevermind-coverHi, my name is Mike Cervantes and I am currently an apprentice at Masterdisk in NYC. Aside from learning mastering from my mentor Scott Hull, I get to connect with all of you on the various social media outlets and of course participate in the odd jobs that need attention around the studio. I can’t tell you how awesome it is to learn under someone like Scott. He has seen a lot of changes in the industry during his time as an engineer and has many “old war” stories and gray hair to prove it!

Masterdisk has a lot of history and there has been a lot of albums mastered under the company’s name that are considered a cornerstone in influencing many of the top artists in music during the last five decades. As someone who grew up listening to and was inspired by a small handful of these records, I of course came into this apprenticeship with questions to ask my mentor.

Scott and I thought these stories and past experiences might be interesting to others too, especially if some of them haven’t been shared or been told from the perspective of a mastering engineer who was involved. So this is the beginning of something new and hopefully frequent enough to keep your interest.

Recently I was with Scott while he was casually listening to the Rage Against the Machine debut album from 1992. Scott had mentioned the time of it’s release was around the same time that a few other sonically different and successful albums came through the door at Masterdisk. “NIRVANA!” is what I wanted to say out loud, but of course I kept my mouth shut so I could hear the man speak. The albums he was specifically referring to were Nirvana’s Nevermind and Smashing Pumpkins’ Siamese Dream.

In 1990, Masterdisk had just moved into their new (now previous) facility on 45th Street in Midtown Manhattan. The typical albums coming in around this time were by artists like Sting, Hall and Oats, Phil Collins and many others that possessed a much cleaner sonic character. So when these early 90s grunge type records came through the door, they sounded very different compared to those latter albums coming into Masterdisk. Scott explained that these different albums were “technically crisp sonically, but intensely dark melodically and texturally where the songs jumped right out of the speakers”.

Scott remembers distinctly remembers hearing Nevermind the first time and it made him feel compelled to listen to it closely. “It sounded different. It had an attitude. Butch Vig was a sounds craftsman for that record.” Scott deeply dug in and studied the album “because of the production and sounds, and of course it drew you in by the music”.

Around this time in the 90s, Scott had built a small garage studio in northern New York where he tracked and mixed grunge type bands during his down time from Masterdisk on the weekends. “We’d start tracking on a Friday night and by Sunday night we’d have a full record mixed and completed”. A small number of the bands Scott was working with had previous experience working at Smart Studios in Madison, WI (Butch Vig’s Studio). One band had recorded at Smart with Butch and drove the masters tapes from Wisconsin to Scott’s garage studio to be mixed. When Scott heard those tracks, it was then that he really started to admire Butch’s sound and became a little jealous because it was so good.

Scott’s role on the Nevermind album was in the editing and post production as an assistant. After the album was mastered, it needed to be edited and put together with the gaps finalized. Back then it was done in the digital tape format and that process often led to spending time with the producer and possibly talking about what went into making that record. In this case, Scott didn’t get very much insight on how Butch had sonically made the album. At the time, Scott didn’t know “if it was a record that we’d still be talking about 20+ years later, but I knew that I liked it and there was something about it that was really appealing.”

Smashing Pumpkins’ Siamese Dream was another album Scott was drawn to (also produced by Butch Vig). Something Scott appreciated about Butch Vig was “the albums he produced didn’t sound like him, they sounded like the band. There was an aesthetic to it. There are times when artists work with certain producers where you can immediately tell what producer they worked with because that producer’s sound is reflected through the music. Butch never really had that effect on the music he produced for other artists”.

As most know, both albums had incredible commercial success worldwide and played a major role in launching each band’s career into the stratosphere. Since I first came in contact with the music on Nevermind, I’ve read and heard many stories about how it changed music and even popular culture. I find it interesting to ask *qualifying individuals what their first reaction was hearing Nevermind when it was released in 1991. To me, it was really cool asking Scott to share his experience, especially since he was involved in the album’s final stages of production and heard it before the rest of the world. There are definitely more unique albums that came through the door during the early nineties and I’m sure Scott has a lot more he could talk about. But these were the one’s Scott happened to mention right away.

If you’d like to share your first reaction to either of these albums, we’d love to hear it! Please leave a comment below.

*In reference to those who are old enough to remember that period of time, ha! I was only 4 years old when Nevermind was released, so I obviously have no memory of that period of time. But the intro of Smells like Teen Spirit was one of the first things I learned on guitar in the late 90s, so I was exposed to the album within the same decade it was released.