If this quaint scene pictured above looks the least bit familiar to you, you’re officially an old person. I say that with no lack of respect because I’m a member of this esteemed group. That is, those of us who edited audio tape using equipment and implements shown here and you’re still alive to talk about it.
When I first entered the world of radio, audio was edited physically using this basic technique – physically cutting audio tape with a single-edge razor blade on a splicing block (both show here). The tape was carefully marked for “surgery” using a grease pencil (not shown here). If your ears and your touch were good, you could perform some truly amazing edits using non-digital methods. Of course, film was edited in much the same way.
Today, of course, all that’s changed exponentially. The entire process from recording to editing to mixing is all digital. No razor blades are involved. And the possibilities are endless. I thought of that when I first saw the 7-minute cold open for the 50 Years of SNL Music. Lovingly edited music clips and mashups, brilliantly visualized and crafted by the amazing Questlove. I have no idea whether he ever physically spliced audio tape during the first years of his career, but if so, he was probably a genius with that format, too.
Editing – whether it’s audio or video – requires an immense amount of time, effort, planning, and of course, skill. Very few complex things accomplished in a hurry turn out to be successful. I found that to be true during my audio production days. The process simply demanded an investment in actual brain time. Strangely, I found it creatively relaxing. In the same way it is tactilely satisfying to select an album, remove it from the sleeve, set it on a turntable, and carefully place the tone arm on Side 1 Cut 1 of the record. Editing audio tape had a calming effect on me. And many of you know I’m a Type A to the second power.
I remember the production director coming to my office and saying to me, “Dude, you’ve got to hear this.” And I’d walk (OK, sometime run) down to the production studio totally psyched to hear the latest masterpiece coming out of the speakers that was positively mind-blowing. That’s what production people live for – the perfect edit, the incredible mix, the story captured brilliantly on audio tape – a piece of perfection to marvel at.
That’s why when I saw Questlove’s finished product – he calls it “a passion play” – it took me back to some of those early revelations I experienced standing in front of those monster studio monitors from Altec, JBL, or Bose played in a soundproofed studio where you could hear every nuance. I easily watched it eight or nine times. Not only does it not get old – I see something different every time I watch it.
Questlove (a.k.a. Ahmir Thompson) has done it all in the world of music. You probably know him as the band leader for Jimmy Fallon on his late night TV ventures. The story of creating the remarkable open for SNL started with Lorne Michaels challenging Questlove to produce it back in 2022. He estimates it took roughly 11 months to put together.
Here’s the entire segment set up on Questlove’s own Instagram page. (If you can, play it loud):
View this post on Instagram
What a daunting task. How do you even go about trying to sum up the impact SNL has had on television, music, and all of us, no matter when you started watching the show. To do justice to the show and process, Questlove ended up watching every SNL show from the debut to the present, focusing on the amazing group of musical stars – the veterans, supergroups, hot new bands, and the up-and-comers. Especially in its first decade, the show became famous for its focus on this last category – edgy musicians on a mission to be heard. Questlove tells his story as a guest on Fallon’s show a couple weeks back. It’s a great story centered on the search for perfection, complete with great stories he tells about SNL‘s amazing repertoire of musical acts:
Something else I bumped into while doing research for this post: Questlove’s “set list” for the video. Here’s every song he included in this nearly 7-minute panorama of music in the order they appeared as well as the air date of the show each was on, courtesy of NBC.com.
Billy Preston, “Fancy Lady” (October 11, 1975)
Taylor Swift, “Lover” (October 5, 2019)
Leo Sayer, “You Make Me Feel Like Dancing” (January 29, 1977)
Elvis Costello, “Radio, Radio” (December 17, 1977)
Rick James, “Give It To Me Baby” (November 7, 1981)
Bruno Mars, “Uptown Funk” (November 22, 2014)
Sabrina Carpenter, “Feather” (May 18, 2024)
Usher, “Yeah!” (May 1, 2004)
Gwen Stefani, “Hollaback Girl” (March 19, 2005)
Funky Four Plus One, “That’s the Joint” (February 14, 1981)
Eminem, “Without Me” (May 11, 2002)
Beyoncé, “Crazy in Love” (May 17, 2003)
Nelly, “Hot in Herre” (November 16, 2002)
Franz Ferdinand, “Take Me Out” (October 22, 2005)
Run-D.M.C., “Walk This Way” (October 18, 1986)
Hall and Oates, “I Can’t Go For That (No Can Do)” (February 27, 1982)
Cher, “I Found Someone” (November 21, 1987)
Hanson, “MMM Bop” (December 13, 1997)
Queen, “Under Pressure” (September 25, 1982)
Dave Matthews Band, “Ants Marching” (April 15, 1995)
Vanilla Ice, “Ice Ice Baby” (January 12, 1991)
Fine Young Cannibals, “She Drives Me Crazy” (May 13, 1989)
Michael Bolton, “Love Is a Wonderful Thing” (April 20, 1991)
Ashford & Simpson, “Don’t Cost You Nothing” (February 25, 1978)
Billy Ocean, “Caribbean Queen” (January 19, 1985)
Peter Gabriel, “Steam” (April 10, 1993)
MC Hammer, “2 Legit 2 Quit” (December 7, 1991)
Morris Day and The Time, “Jerk Out” (October 20, 1990)
REM, “Losing My Religion” (April 13, 1991)
John Mellencamp, “Hurt So Good” (April 10, 1982)
Roy Orbison, “Pretty Woman” (December 6, 1988)
INXS, “Suicide Blonde” (February 9, 1991)
Prince, “Party Up” (February 21, 1981)
Rick James, “Superfreak” (November 7, 1981)
Duran Duran, “Girls on Film” (March 19, 1983)
Weezer, “Hash Pipe” (May 19, 2001)
James Brown, “Rapp Payback” (December 13, 1980)
Lenny Kravitz, “Are You Gonna Go My Way” (April 17, 1993)
Billie Eilish, “Bad Guy” (September 28, 2019)
U2, “Vertigo” (November 20, 2004)
Florence and the Machine, “Dog Days Are Over” (November 20, 2010)
Olivia Rodrigo, “Drivers License” (May 15, 2021)
Bobby McFerrin, “Drive” (December 10, 1988)
Busta Rhymes, “Tear Da Roof Off” (February 13, 1999)
TLC, “Creep” (May 6, 1995)
*NSYNC, “Bye Bye Bye” (March 11, 2000)
Dido, “Thank You/Stan” (October 7, 2000)
Destiny’s Child, “Survivor” (May 5, 2001)
Nicki Minaj, “Moment 4 Life” (January 29, 2011)
Taylor Swift, “All Too Well” (November 13, 2021)
Billy Preston, “Nothin from Nothin” (October 11, 1975)
Ed Sheeran, “Shape of You” (February 11, 2017)
Backstreet Boys, “As Long As You Love Me” (March 14, 1998)
Salt and Pepa, “Shoop” (March 14, 1998)
Simon and Garfunkel, “The Boxer” (October 18, 1975)
Spice Girls, “Wannabe” (April 12, 1997)
Tina Turner, “What’s Love Got to Do with It” (February 2, 1985)
It’s a rare moment when we are treated to audio (and of course, video) production perfection.
To all those perfectionists I’ve had the honor to work and learn from over the years – Larry Estlack, Gary Reid, Dave Simmons, Jim Cutler, Steve Cassidy, Chris Corley, Keith Eubanks, Mick McCabe, Bill St. James, Nick Michaels, Matt Bisbee, Kevin Gunn, Bob Malatesta, Pat St. John, Jeff Schmidt, Rob Naughton, Jason Dildine, Rich Van Slyke, Stew Herrera, Bill Towery, and so many more who helped make my ideas, my words, and my vision come to life over the air and in the studio. (I know I’m missing people and I apologize for any omissions. Please fill in my blanks and let me know who YOU revere(d), especially those “Brothers of the Blade” splicing tape back in the ’60s and ’70s.)
And thanks to everyone who works so hard at making what’s often “in between the records” sound so amazing.
Jacobs Media has consistently walked the walk in the digital space, providing insights and guidance through its well-read national Techsurveys.
In 2008, jacapps was launched - a mobile apps company that has designed and built more than 1,300 apps for both the Apple and Android platforms. In 2013, the DASH Conference was created - a mashup of radio and automotive, designed to foster better understanding of the "connected car" and its impact.
Along with providing the creative and intellectual direction for the company, Fred consults many of Jacobs Media's commercial and public radio clients, in addition to media brands looking to thrive in the rapidly changing tech environment.
Fred was inducted into the Radio Hall of Fame in 2018.
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My first job out of college was editing American Top 40 for Japan. My task each Friday was to pick up the tapes in North Hollywood, drive them back to the studio in West Hollywood and cut the show from 4 hours down to 2. I started with a “paper cut” then jumped on the Otari and took my blade and tape and went to work. I had 4 hours before the Nippon Freight man showed up to ship the final cut to Tokyo! I got good with so much practice. And like you, Fred, I found it incredibly relaxing and satisfying.
OMG thank you for including me. Those other names in that paragraph are the real deal and what we probably all have in common is clipped pieces of Ampex 456 draped around our necks while we search the reel for where to put it. I’m sure everyone on that list had a third-hand reel-to-reel when we were 14 and 15, making really bad edits (and no edit block) for the love it doing it.
Questlove’s piece is a jaw-dropper. I feel like this answer may sound too big for its britches. I’m really just one of so many. I NEVER talk about my job on Facebook or social media. Ever. But after literally hundreds of thousands of edits over 40 years, maybe millions over decades, enthralled with radio and making things, maybe I am in the club. Barely. Production/imaging was what set young me ON FIRE to be in radio. Still I eat, breathe and sleep this stuff. As do the other names you mention. Kudos to the Jacobs boys for solid content every time.
You’re one of the patriarchs of this craft, Jim. Your love of production shows in everything you do. Congrats on setting an example for all of us.
Great Production Adds So Much!
Indeed, Clark.
I just came back from an errand where I was forced to hear no less than 6 spots ranging from :05 to :30 – all straight voice. One was semi-entertaining, while the rest were just plain b-o-r-i-n-g. My first recollections of creative production were hearing Bob Greene’s great radio promos for WSAY in Rochester. Those spots were so good that we still used them 9 years later. After that, experts like Frank Scheidt, Mark Driscoll, Keith Smith – people who would lock themselves away in their own little world of music changes, sweeps and incredibly descriptive phrases that did what radio does best-painting a picture in the listener’s mind. You know you’d always come away with a smile after hearing this stuff. It’s sooo badly needed today in the world of 8 minute stopsets. Thanks for sharing, Fred
We sound like old timers complaining about today’s production vs. the work we remember from our formative years, but the differences are obvious. I mentioned Dave Simmons, production director at WRIF during most of my years there. He was an artist BUT he also benefitted from producing for a signle radio station, a luxury virtually no one enjoys today.
My first time in front of a digital editor was a disaster.
All those grease pencil marks I left on the monitor screen . . .
Evolution can be tough, Alan.
Production was always my first love, even beyond doing a show. While digital editing is wonderful, spending hours hovering over a tape deck with a blade and grease pencil, with dozens of pieces of tape on the floor, was an experience I’ll always cherish. Although I’m glad I rose to my level of incompetence as a program director, I would have just fine spending my entire career in a production studio.
Funny you say that. I might have said the same thing back in the 70s. I loved radio prooduction where one person could pretty much run an entire project whereas in TV, it requires a bit team.
That photo of the editing station brought me a rush of nostalgia. However, I thought to point out my own timeframe recollections.
Whereas my time behind “the block” was only a decade, it was still manual editing decade throughout the 1980’s 😉
And speaking of… after leaving on-air at SF stations and moving into independent spot creation for the #4 market, we were the first to use the new (home versions!) of digital production tools (in 1990) thereby enabling our little, Denman Group to under bid the established production houses. Quite a feat and rewarding to hear my (sometimes) very own top to bottom, creations on the air in a major market. Ahhh, simpler times.
Much simpler, Robin. I love the challenges of today and the evolving state of everthing! But yes, there are times when a reel-to-reel machine, a splicing block, a single-edge blade, and a grease pencil would make me happy.
oh, the QuestLove production killed!
Indeed it did. Just brilliant.