They should have put out more music instead of 4 albums in 4 decades.
I swear to god they practically handed Boston's first album out to all incoming freshman at high school for decades.
"It's hard for somebody to put down music the way I want to put it down," [Scholz] explains, "I listen to exactly how every note is played, not just the pitch, the volume or the sound, but the attack, the intonation, and all the little nuances. And if it's not the way I think it should be, then I want to get it done over again and have it done right. When it comes to recording, I'm one of the only people I know that can put up with me." ...
Scholz became so fascinated with drum beats that he began making recordings of drum tracks and cutting them up a bar at a time. It was a kind of analog drum machine only a seasoned tape splicer would dare attempt, but it worked wonders for "Cool The Engines," probably the closest thing to an 80s feel Boston ever attempted. ...
Scholz plunged on into rhythm research. When Jim Masdea took a job as a pleasure boat captain and went to Jamaica for months, Tom began looking into drum machines. Declaring what was commercially available "putrid," Scholz finally "gobbled up" an Oberheim DMX, doubling its clock speed to get more resolution, and spent several months talking to various EPROM burners to get Masdea's sounds onto microchips. Scholz even used it to complete "To Be A Man," but when Masdea returned, Tom used a set of contact mikes under indoor/outdoor carpeting to trigger the samples and had him play live. Scholz never found this feasible for cymbals, which he had Masdea record live.
Incredibly, most of his recordings are fourth generation, which he gets away with by plenty of masking and gating.
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