Richard Furch used his Carl Tatz Design PhantomFocus System to mix multimedia superstar Tyrese Gibson's Black Rose album, which went straight to the top spot on multiple charts worldwide.
by Clive Young For Fleetwood Mac, Rumours was one of those once-in-a-lifetime moments: An album that, in no particular order, won the 1977 Grammy for Album of the Year, became the fifth bestselling album of all-time (40 million copies to date), fielded four Top-10 hits, and turned the group into bona fide rock stars. On the other hand, it also took a year to make, during which everyone in the band broke up with his significant otherwhich in four out of five cases, was someone else in the band. Pile on record company pressures, feuds, writer's block, and jaw-dropping amounts of drugs and alcohol, and it's easy to see how Rumours should have been a complete trainwreck instead of an unqualified success. On hand for each step of the remarkable journey was co-producer Ken Caillat, who recalls every detail in his new memoir, the aptly titled Making Rumours: The Inside Story of the Classic Fleetwood Mac Album.
"Your biggest comparison is trying to make the live show sound as good as the record, but what's gratifying about the live performance is that you have an immediate response from the people and performers."-Tom Young, FOH Engineer, Tony Bennett/Lady Gaga