In session with

S. Husky Hoskulds

It didn't take long for S. Husky Hoskulds, who moved to the US in 1991 from Iceland to warm up to the idea of an engineering career in Los Angeles. A brief education in engineering at UCLA resulted in Husky landing a job at One on One Studios where he worked as as entry level staff person. This led to even more work in a string of smaller studios in the "grunt work" days of his career. Husky eventually got a staff gig at Sunset Sound Factory but says it was those early days of working in smaller crap studios where he learned some of his most valuable lessons as an engineer. Mainly relying on yourself and developing good troubleshooting skills. Something he says most assistants don't seem to care about these days. Today this new daddy and budding engineer has his pick of studios and has worked on projects with Vanessa Paradis, Michael Penn, Sheryl Crow and The Wallflowers to name a few.

While first working at The Sound Factory you met and began to work with Tchad Blake. What is it like working with him when he has his producer's hat on and it's you instead of him in the engineer's chair?
It's great. The first time I 'officially' engineered for him, it was very natural. We've spent so much time together in the studio that we're on the same wavelength. I found myself reaching for the same knobs he was about to. Y'know, things like checking the phase on this mic, rolling of some top here, more bass there. It was a cool thing. I really owe him a lot for what I've learned from him.

What project in your career are you most proud of so far, and why?
I'm really happy with the way Michael Penn's record (MP4) turned out. I recorded and mixed that one, except for the first song, and it has a vibe to it that I'm really pleased with. Being able to follow the songs through to mixing and mastering is key. You kindof have a sound or approach in mind for each song, having put it up a number of times throughout the overdubbing stages. You know how things work together, what the panning should be etc., so it's nice to get the opportunity to complete the thought. Also, I think Vanessa's record came out great. Tchad is mixing that one now.

July will be a big month for you with the release of the Wallflowers and Vanessa Paradis albums. Let's discuss the Wallflowers project specifically and your approach to the recording process for this record.
Well, I didn't really think too much about it before hand. I like it when things come to me spontaineously, as the songs are being tracked. I'll hear an approach - sonically - that I think might work for the song, and if I'm lucky, the producer(s) and the band will agree.

What vocal chain did you use on Sheryl Crow and were there any memorable moments while working on that award winnig record?
For that one there were a couple of different mics. Most of it was the 251, while for maybe one song or two we used the C37. The mic pre in both cases was a Neve. She's great though. With a singer like that, you've got a lot of leeway. She sounds good on a number of mics. To me at least. As far as memorable moments, there were absolutely none. Very boring. NO NO, of course I'm kidding! It was a blast! Getting to work with that kindof talent is great. She'd have people come by to play, like Benmont Tench, who is always a pleasure to work with (played a lot on Vanessa's record too), and Dan McCarrol and others, so it was a lot of fun.

When approaching a project, do you usually go analog or digital? Do you find yourself switching formats?
I always use analog. 15-SR if I can. If not, I'll go 30 ips non Dolby. I also have a Pro Tools rig. It's called "My First Pro Tools". Actually it's the 001. I use it in tandem with the tape, for loops, sound design, fx and things like that - along with the Nord Modular and the Meta Synth. But no Auto Tune or drum editing on that rig.

And your tape of choice is? Why?
I like the Basf SM 900. I just like the fact that it's consistent and very durable. I also like the fact that it can take some heat. If the drummer gets a bit excited, and starts to really smack the drums, I don't have to worry about it sounding shitty coming back.

Are there any studios you call 'home'?
I'm most comfortable at Sunset Sound Recorders or the Sound Factory. Most of the rooms there are pretty great. Not too big, not too small. They just feel right.

Can you give us insight into your micing techniques?
A lot of ribbon mics. Not afraid of those guys... I also like to use cheap mikes to add some color. When you blend them in with the nice ones (on drums for example) and play with the phase, you can get some cool sounds. I built a box that varies the phase on a balanced signal, fully sweepable, so you can get signals that are anywhere btw. 0 and 180 degrees out. I won't say it affects record sales, but I like the way it sounds. The other thing to mention would be that I had the opportunity to try Monster Cable when I was doing the Wallflowers record and I have used it ever since. It's great stuff, and it really makes a difference.

Can you give us a peek into your future. What projects do you have coming up?
Now my main gig is being a father to my 8 month old son. And I might do a jazz record, all Louis Armstrong stuff. Something different. I think it'll be fun. That kindof music I think lends itself to my style of recording. Mono drums, mono piano, lo-fi everything. Also, Craig Street is producing, he makes pretty cool records. And Abe Laboreal jr., Greg Leisz and Smokey Hormel (among others) are playing on it. I can't really say no to that team!