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SAE Magazine

44 How did you get into this business? I went to audio school in New York. I then moved to San Diego and worked at a studio down there. I did every job – I booked the place, did the session, and collected the money. I worked there for two years. After that, I moved to Los Angeles and got a job at a studio called Red Zone as an assistant engineer. There, I worked and became friends with John Porter who had just produced Buddy Guy’s “Damn Right I Got the Blues”, and we hit it off. I did a couple of small jobs for him, and when his next album project came up he hired me. How did you come to work with Jerry Finn? I got a phone call from Jerry. He had just done blink-182’s ʻEnema of the Stateʼ, and he and I were friends. We had moved to LA and started working here around the same time. He was looking for an engineer, so I started working with him and was with him for 8 or 9 years. I went from the blues to pop punk right away. It was interesting to go from making blues records that were essentially live recordings to making everything in the studio – over- dubbing everything. What was it that made yo in the first place? I was a musician, but had thing completely different. and I had a completely diff on Wall Street in the 80’s, to do that for the rest of m to try this and I didn’t wa didn’t want to wake up 20 didn’t I…’ or ‘what if…’ What made you decide to I got a call from the Direct she asked me if I would and I thought I would try it. it, I discovered I had more did. How are you bringing y classroom? I try to bring a real-world still a working engineer. I tr about how things are and you on your first job and th at all times. For the music in outside musicians so th recording each other and t PhotographerUnknown- ImageOwnedByJoeMcGrath Joe at Westside Studios, London, 1997 with Andy Newmark, John Porter, Paul Carrack and Sir David Gilmour I decided wanted I didn’t want to h STAFF PROFILE // JOE McGRATH

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