11/29/2017 Classic Tracks: George Michael ‘Faith’ |

LOG IN REGISTER SUBSCRIBE SHOP HELP 0 items Search

SOUND ON SOUND

NEWS FORUM MAGAZINE REVIEWS TECHNIQUES PEOPLE SOUND ADVICE MUSIC BUSINESS

HOME > PEOPLE >

Hyperballad: Music for Ads

Classic Tracks: George Michael ‘Faith’
Producer: George Michael • Engineer: Chris Porter
Production
By Richard Buskin Published March 2013

Wham! went their separate ways in 1986, but the triumph of George Michael's
debut album Faith in 1987 meant that the success of his solo career was
never really in doubt.

Back in 1988, when Faith had turned George Michael into one of the biggest stars on the planet
and I lived around the corner from his home in north-west London, I ran into a guy who was In this article...
a dead ringer for the 24-year-old singer, songwriter, producer and multi-instrumentalist. The The Last Days of Wham!
thick blonde hair, black leather jacket, white t-shirt, blue jeans, metal-tipped ankle boots, dark Puk
shades, designer stubble — this fan had the image down to a tee. But then I did a double-take. 'Faith'
The young dude I saw perusing the shelves in a local video store was George Michael, looking Sarm West
exactly like he did on the Faith album cover and in the title track's iconic video. Forget about Aftermath
walking around incognito — the man born Georgios Kyriacos Panayiotou was milking his fame 'I Want Your Sex'
for all it was worth.
SOS Awards
"I went to the States a lot with him when he was working over
there and he'd always complain about all of the press
VOTE NOW!
attention,” says Chris Porter, whose engineering of Michael's
recordings spanned the latter's debut on 'Wham Rap! (Enjoy
What You Do)' with Andrew Ridgeley in 1982 through to the
1995 single 'Jesus To A Child'. "I'd say, 'Well, why don't you
take o the cowboy hat and dark glasses? If you walk through
the airport wearing a raincoat, no one will know.' But he
obviously wasn't interested in that.”

The Last Days of Wham!

A Southampton native who relocated to London during the
mid-'70s, Porter was a singer in various bands before a keen
interest in recording studios and a chance meeting with Phil George Michael on stage during the
Lynott resulted in him assembling an eight-track home setup 1988 Faith World Tour. Photo:
for Thin Lizzy's lead singer/songwriter/bassist. This, in turn, Redferns
led to an assignment for Porter to carry out some building Photo: Redferns
work for producer Tony Visconti at his
commercial facility, Good Earth, and in
December 1980, at age 26, he began working
there as an assistant engineer.

After an auspicious debut, contributing backing

vocals to David Bowie's Scary Monsters, Porter
learned miking techniques via morning jingles
sessions and assisting on recordings by the
Boomtown Rats, Hazel O'Connor, John Hiatt
and Modern Romance. Then, while still at Good
Earth in 1982, he worked with producer Bob
Carter on several projects at other London
studios, including Mayfair, where they The track sheet for 'Faith'.
collaborated on 'Wham Rap! (Enjoy What You
Do)'.

"That's when I  rst met Andrew and George,” Porter recalls, "and then they worked with
[producer] Steve Brown to make their rst album, Fantastic, recording a few tracks at Good
Readers' Ads
Earth, where I assisted and engineered on some guitar sessions. At the very end of that project,
they needed a B-side for 'Club Tropicana' and they had one night to do it. That track was 'Blue
VIEW ALL ADS CREATE FREE AD
(Armed With Love)', and after George and Andrew came to the studio we spent 11 hours trying

https://www.soundonsound.com/people/classic-tracks-george-michael-faith 1/8
11/29/2017 Classic Tracks: George Michael ‘Faith’ |
to build it but never quite nished. To this day, although it ended up as the B-side, I still think
it's incomplete. George was the producer — Steve Brown wasn't involved — and that's when
our working relationship really started.

"In late 1983 or early 1984, after I'd gone freelance and
engineered the Alarm's Declaration with producer Alan
Shacklock, I got a call from Wham!'s then-manager Jazz
Summers, asking if I'd work with them on their next album,
Make It Big. For me, that was a fantastic opportunity. The
rst track we did was 'Wake Me Up Before You Go-Go',
recorded within a couple of days at Sarm West's Studio 2.

"Although there wasn't a demo, George had most of the

song written in his head and we recorded it with a live band.
Then, for the next track, 'Careless Whisper', George and
Andrew went to Muscle Shoals [in Alabama] to work with
producer Jerry Wexler and I thought, 'That's it. My
involvement with Wham! is over. There's no way I'm ever
On the same subject
going to see them again.'
CLASSIC TRACKS: Coldcut ‘Paid In Full’ (Seven
"A few weeks later, I got a call telling me George wasn't Minutes Of Madness)
happy with 'Careless Whisper' and wanted to know if I'd Mixer settings and notes for 'Faith'. December 2017
help him re-record it. Of course, I could, so we went back Q. How do I remove the noise from my lavalier
into Studio 2 at Sarm and worked on that track with a live rhythm section. It took quite a long mic recordings?
December 2017
time to make and we went through 11 sax players to nd one who could get the solo's main
The Horrible Histories Songs
phrase done in one breath.”
December 2017
This turned out to be Steve Gregory. The track, subsequently issued as George Michael's rst Session Notes: Recording Voiceover On The Road
December 2017
solo single — although among the few written by him and Andrew Ridgeley, and included on
Inside Track: Lil Uzi Vert 'How To Talk'
Make It Big — also became his rst solo chart topper.
December 2017

"To get away from the press so that George could work peacefully, we went to Studio Miraval in
the South of France — where they had the rst 3M digital machines — and recorded Latest Videos
'Heartbeat', 'Like A Baby', 'If You Were There', 'Credit Card Baby' and the rst version of
'Freedom',” Porter continues. "Most of them were performed with live rhythm sections and all
were written by George during the six weeks we were at Miraval — there were no demos for
the album. Then we recorded 'Everything She Wants' in Paris and London.

"By the time of Make It Big, Andrew's musical

involvement was pretty much non-existent —
he was more of an emotional pillar than
a musical presence. Meanwhile, George and
I always had a really, really good working
relationship. Although he's 10 years younger Hyperballad: Music for Ads
than me, I had a tremendous respect for his Uploaded 5 days 23 hours ago
ability, his musicality and his drive. He was an
exceptionally driven man and had a really clear
idea about what he wanted to achieve. It was
my rst experience of interacting with
someone who had songs — and the sounds of
those songs — in his head. He'd come to the
studio knowing what he wanted to accomplish. Sarm West, London, where recording of Faith
resumed following sessions at Denmark's Puk
That album was really our impression of
studios.
Motown, and although it sometimes perhaps
didn't achieve the sonic quality, it kind of achieved the spirit and liveliness of those records.”

Sarm's Studio 2 was the recording venue for Wham!'s nal studio album, Music From The Edge SynthFest UK 2017 Overview Montage Part2
Uploaded 4 weeks 1 day ago
Of Heaven, which evolved out of the chart-topping 'I'm Your Man'.

"That song was put together in much the same way as how the Faith sessions would start out,”
Chris Porter explains. "George wanted to be in more and more control of the musicians,
directing them as to what he wanted rather than just letting them use their own licks. At that
stage, I didn't know the end of Wham! was coming, but he was nding it increasingly di cult to
come up with material that suited them. The songs he wrote for Edge Of Heaven had more of
a rock element and musical breadth to them, and they were much more complex, exploratory
recordings, trying to nd a sound. That's when I had to start becoming used to the idea of
recalls; of going from one studio to another with time in between and trying to achieve the
same results. The SSL desk was invaluable in that regard.”
Dynaudio 9S & 18S - AES 2017
Puk Uploaded 1 month 1 week ago

Wham!'s farewell single, 'The Edge of Heaven', topped the UK chart in June 1986, and on the
28th of that month the duo performed their nal concert at Wembley Stadium. Bolstered by his
solo success and tired of mainly just appealing to the teenage market, George Michael wanted
to focus on writing and recording more serious, introspective, edgy material, largely aimed at
an adult audience. That August, work on Faith commenced at Sarm. Then, in February of '87,
the recording locale switched to Puk, the noted Danish residential facility which, situated an
https://www.soundonsound.com/people/classic-tracks-george-michael-faith 2/8
11/29/2017 Classic Tracks: George Michael ‘Faith’ |
hour's drive from Jutland's largest town of
Aarhus, a orded him the privacy and state-of-
the-art technology he desired.

"When I saw that amazing studio — partly

designed by Andy Munro, with whom I'd
worked on a project at Good Earth — I thought
it would be perfect for George,” says Chris
Porter. "There wasn't much press activity in
Aarhus, so we could relax without worrying
about him getting hassled. And we could also
get straight down to work because everything
The control room of Sarm West's Studio 2.
we needed was in-house: food,
accommodation and great equipment, including a 56-channel SSL E Series desk and Mitsubishi
32-track machines.”

Contrary to assertions made elsewhere, a Synclavier 9600 was not utilised for the Faith
recordings. Instead, after using Akai samplers to reproduce studio sounds for the subsequent
Faith world tour proved to be impractical — "It was impossible for one guy to load enough
oppy disks into an Akai between songs,” says Porter — the Synclavier was employed as
a much more viable alternative.

That was in February of 1988. Exactly 12 months earlier, the Faith sessions commenced at Puk,
where the oor of the main recording area was at about the same height as the top of the
console and therefore at eye level to whoever was sitting in the control room.

"It was as if the performers were on a stage in front of us,”

Porter remarks. "However, since we never used a live
rhythm section, each of the instruments was just
overdubbed in there while a LinnDrum and keyboards
were recorded in the control room. You see, George's
whole angle was to make very limited tracks; limited by his
own abilities as an instrumentalist and programmer, using
a repeating two- or four-bar drum loop surrounded by
quite simple sounds, to create a really sparse background.
He could then perform some fabulous vocals against this
and focus all of the attention on them.

"With the exception of brass and piano, our soundscape

for most of that album was provided by a Juno 106 — for
bass and strings — a Yamaha DX7 and a very early 8-bit
sampler called a Greengate DS3, with its own sequencing
system that ran o an Apple G2. We used that for various
percussion samples, including the bottle sound on 'I Want Chris Porter today.
Your Sex'.”

The musicians on Faith included guitarists Hugh Burns, Robert Ahwai, JJ Belle and Roddy
Matthews; bass player Deon Estus; keyboardists Chris Cameron, Betsy Cook and Danny
Schogger; drummer Ian Thomas and percussionist Andy Duncan. Each of their contributions
was overdubbed in order to assemble the tracks in piecemeal fashion, yet it was George
Michael who played all of the instruments on 'I Want Your Sex' (Part 1), 'Hard Day' and, with the
exception of Matthews' guitar, 'Monkey'.

"While he had the rhythmic ideas and desired feel inside his head, he didn't want the artistry of
talented players,” Chris Porter explains. "No matter how good they are, session musicians must
be embedded within a particular environment; familiarising themselves with what the producer
and featured artist are trying to achieve. In those days, each of those musicians might be
working on ve or six di erent things a week, and with them they'd bring a current trend or
favourite lick. Well, George didn't want their favourite licks. He wanted his ideas, and that's why
he decided to play a lot of the parts himself.

"We would spend a day creating a bass part if he thought he needed to play it himself. It wasn't
an ego thing; he was looking for a speci c feel and, instead of Deon's expertise and outrageous
natural ability, he just wanted something really simple over which he could perform a magical
vocal. Then again, a LinnDrum served as the rhythmic starting point for all of the songs, and
that's because George didn't want to be bothered with real drummers on this record.

"These days, playing with sequencers on stage and in the studio has changed how drummers
think about music and impacted the quality of their playing. However, back in the '80s,
although they were good, some drummers weren't always able to play in time. On Faith, we
recorded tracks over quite long periods of time, and in some cases George would want to
change an arrangement after having already done quite a bit of work. That might be pretty
di cult if, say, we needed to get the drummer back, match up all the sounds, have him play
a di erent middle eight and drop that in, but it would be very easy with a LinnDrum.

"As George wrote the songs bit by bit in the studio, we went the machine route to get the
consistency of sound and rhythm. Over time, the LinnDrum's distinct sound became extremely
tedious, but back then it was quite exciting to have that sound, that control and the ability to
https://www.soundonsound.com/people/classic-tracks-george-michael-faith 3/8
11/29/2017 Classic Tracks: George Michael ‘Faith’ |
create individual rhythms that existed in their
own right. We weren't trying to make them
sound like a drummer; we were just trying to
make interesting rhythms that people could
dance to. Listening now to the Faith album
some things sound pretty ugly, such as the
sidestick noises that pop your ears out. Even
back then, I thought they sounded awkward,
but George liked some of that angularity.

"He has got a naturally very romantic voice;

a beautiful high tenor. Yet, on songs such as
'I'm Your Man' and 'Edge of Heaven' he
The track sheet for 'I Want Your Sex'.
developed this whispered grunt as part of the
hard-edged persona that ran through the Faith album with the leather jacket and dark glasses.”

So, which came rst: a sound contrived to match the look or the look conceived to match that
sound?

"The look followed the sound,” asserts Porter. "We made three or four tracks in that vein before
George went to the States and was styled for the album. When we started those sessions he
still had his blonde owing locks, he was clean shaven and he wasn't wearing a leather jacket or
pointy boots. That all came later, and George had a huge amount of input creating the new
image.”

'Faith'
The recording of the Faith album's title track —
featuring a pipe organ intro that resurrects
Wham's 'Freedom', Bo Diddley-style rhythm
guitar, George Michael's R&B-based vocal and
a reverb-laden Sun Records/Scotty Moore-type
guitar solo — commenced in May 1987, with
Michael playing a two-bar drum loop while
Hugh Burns played the aforementioned
acoustic rhythm.

"George described the Bo Diddley feel to him,

as well as the sequence and the chords,” Porter
recalls. "As he didn't really play guitar, he sang
the melody and the two of them worked out
how it would go. I probably used a Neumann
KM84 to record Hugh and double-tracked it,
and there's also an electric tremolo doubling
the guitar pattern. Deon Estus was there, too, so he laid down some DI'd bass, the authentic-
sounding organ intro was produced with the cathedral organ preset on the DX7, and all the
while George was singing incomplete lyrics.

"For this and his subsequent albums, George actually wrote the lyrics in front of the
microphone. I would start recording, he'd sing a line and then he'd say, 'OK, stop a second. Play
that back... Can you drop me in for the word 'the'?' This would be the rst time I'd heard
the lyric and the rst time he'd sung it, and that's how we would build the whole song.
Nowadays you can do numerous takes and perhaps use the Melodyne editing program to chop
in words, but we did it live and it took many, many hours to complete.

"We'd be dropping in one or two syllables at a time, and that was another reason why we
needed to work digitally. Bear in mind, after only hearing the lyric once I'd be dropping in the
'ooh' or 'ah' of a word just so George could get the right emotional e ect from the growl or
vibrato in his voice, and if I made a mistake I could undo it. People acclaim his great vocal on
'Faith', and it is, but it was studied and worked on to the nth degree.

"The song had this dry, crisp vocal sound, and it had to be set up so it was perfect in his ears.
That's how it was for every track. George didn't want just a rough balance to sing to; he wanted
to hear exactly how it would sound on the record, with or without delays, dry or with reverb.
When he sang to that, if a word didn't have the right consonance or resonance, he'd change the
word so that it matched what he wanted to say while also ringing true with the music.

"That had never been the case with Wham!, where the approach was more conventional and
lyrics were known in advance. Certainly, he'd been quite concerned about what he heard in his
headphones — perhaps more than other people — so that he had a sense of how the nished
record would sound, but for Faith every single detail had to be exactly right before George even
began recording a vocal. For instance, on 'Father Figure', the delay — which is a consistent
feature of the vocal sound — the slight DDL and the reverb all had to be perfect before he
began singing and writing the lyrics. Then he might nish for the night and, when he came back
to it a couple of days later, it had to sound exactly the same in his headphones so he could
continue working on it — exactly the same delay, exactly the same quality of delay.

https://www.soundonsound.com/people/classic-tracks-george-michael-faith 4/8
11/29/2017 Classic Tracks: George Michael ‘Faith’ |
"That was the biggest challenge for me: making sure everything was precisely how George
needed to hear it in order to carry on with the creative process and write the song. In the case
of 'Faith', he began by singing in the studio while I applied the usual reverb. Immediately he
said, 'No, no, I don't want any reverb for this one. I want it dry and in your face. Have you heard
Prince?' Prince had recently recorded a couple of numbers with a very tight delay on the vocals,
making him sound growly but dry and aggressive. So, we experimented until we found out how
to create that kind of e ect.

"I only used a few e ects for George's vocals. The Lexicon 224 produced those extended high-
frequency pings that you can hear on the reverb-y vocals, and there was also the AMS RMX16
reverb and DMX 1580 delay line. The real characteristic vocal sound right the way through
'Faith' and beyond was an AMS 30-millisecond delay panned slightly left of centre, a 45-
millisecond delay slightly right of centre; sometimes with pitch variation on each side, but
generally not.

"The microphone he used on that album was a Neumann M49 at Puk that I ended up buying
and still use today for quite a lot of vocal work. It's got a nice, controlled top end, so it's not
harsh at the top but very, very open. One of the problems with early digital recordings was that
you did tend to get quite a harsh top end that was a bit unforgiving. That has improved a lot
over the years, but back then the Sonys and even the Mitsubishis had a ceiling on the top end
that was almost like a glass wall. I found the M49 gave you a lovely warmth, a lovely depth with
a controlled top end, which you could then accentuate without it becoming too metallic and
unnatural.”

Sarm West
Shortly after the 'Faith' vocal was pieced together, work at Puk came to an end because,
according to Chris Porter, "George started to get cabin fever. So much, in fact, that when he
decided to leave and someone told him 'The next ight's not until Thursday,' he said, 'Let's rent
a plane.'”

The sessions resumed at Sarm West's Studio 2, where an SSL 4048 E console helped Porter
recall every sonic component. "George has great ears,” he states, "and if something was
minutely wrong he'd say, 'No, the cow bell doesn't sound the same.' A lot of time was spent
matching.”

Such was the case with 'Faith', which wasn't revived until 1st September, 1984, when the song's
middle section and Hugh Burns' guitar solo were recorded.

"That solo was put together in three parts in about three or four hours,” Porter recalls. "George
wanted a classic 1950s sound, so I used quarter-inch tape delay into a plate, and the solo was
then constructed bar by bar in much the same way as he constructed his vocal. There were
some tricky drop-ins and two parts had to interplay with each other, but again it sounds very
natural and very slick. If you listen to what George is doing vocally behind that guitar solo, he's
singing a little bebop ri , and that was his starting point for what he wanted Hugh to play.
Hugh, who has an amazing technical facility, tried to combine that with the ethos of the time
and came up with a slightly more rolling lick.

"At that point, George asked him to syncopate it a little bit more, he himself sang some of the
melody and the whole thing was developed that way. As a musician, Hugh was willing to be the
instrument for George so that he could ask him to try out all of these di erent ideas. And
George loved working with Hugh because he was so patient and could produce what he
requested. This was done with Hugh standing in front of his amp in the studio and George
behind the desk, singing the lines down the talkback.

"At the time, I didn't nd the process challenging; I found it interesting and it absolutely lled
up every day of my life for about a year and a half. It was so exciting. Still reasonably fresh to
the industry, I didn't expect to nd myself involved in that kind of success, so it was absolutely
brilliant and I loved every minute of it.”

Aftermath
A transatlantic chart topper following its October 1987 release, as well as the rst record by
a white artist to hit the top spot on Billboard's R&B chart, Faith won the 1989 Grammy Award
for Album of the Year, en route to selling more than 20 million copies worldwide. What's more,
its four US number ones — the title track, 'Father Figure', 'One More Try' and 'Monkey' — made
George Michael the only British male singer to achieve this feat with a single LP.

Those songs were sandwiched between the lead-o single, 'I Want Your Sex' — which, issued
nearly ve months before the album, climbed to number two in the US and number three in
the UK — and 'Kissing A Fool', which was also a Top Five hit in America. Meanwhile, 'Faith',
which reached number two in the UK after its October '87 release, was the best selling single of
1988 in the United States and marked the high point of George Michael's career.

"I worked with him up until about a third of the way through the sessions for his third album,
Older, at which point he became very interested in the club-type record,” says Chris Porter

https://www.soundonsound.com/people/classic-tracks-george-michael-faith 5/8
11/29/2017 Classic Tracks: George Michael ‘Faith’ |
whose engineering or production credits during the past three decades have also included
Gary Moore, Robbie Nevil, Aswad, Dave Stewart, Elton John, Take That, Pet Shop Boys, Tina
Turner, Cli Richard and, recently, Murray Head and Chris de Burgh. Presently, he and Hugh
Padgham co-own the Stanley House complex in Acton, West London, where they each have
their own studios while 10 production suites are rented out.

"George's sound became much more complex, with multiple layers or synthesizers, beats and
loops, ” Porter continues. "Re ective of his nightlife, that's where he wanted to be and he found
a bunch of people who were immersed in that kind of music. I wasn't. Having always
considered him to be a very romantic singer, I especially love it when he sings ballads, and
looking back at the body of work we did together, I'm extremely pleased and proud about my
involvement in that part of the story.”  

'I Want Your Sex'

'I Want Your Sex', which commenced recording inside Sarm's Studio 2 in August 1986,
ultimately comprised three separate parts: the electro-funk 'Rhythm 1: Lust' which was
issued as a single; the funk/R&B 'Rhythm 2: Brass In Love'; and, featured separately as
the closing number on non-vinyl releases of the album, 'Rhythm 3: A Last Request'. It
was, as Chris Porter now recalls, among the more complex tracks that he engineered for
George Michael.

"We were working on a song, again we just had the Juno, LinnDrum and DX7, and we'd
connected them all up so that we could run them o MIDI. After doing some
programming, we returned to the studio the next afternoon, I pressed 'play' on the tape
machine, the MIDI obviously wasn't right and everything started making these weird
noises. The drums were triggering random sounds on the Juno and DX7, starting to make
what you now hear as the intro on 'I Want Your Sex': a strange squelching, pulsing bass
sound.

"I went, 'Oh damn, I'll reset it,' and George said, 'Hang on a second, hang on a second!
That sounds really good, doesn't it?' I said, 'It's a bit weird,' and he said, 'Yeah, but if we
just take a bit out of here and a bit out of there we might be able to use it... ' We recorded
a few bars of that odd squelching noise, and it then morphs into the song, at which point
the bass becomes the bass part and just the Juno, LinnDrum and DX7 provide the overall
soundscape.

"Written in the studio, it took quite a long time to record the entire rst part of 'I Want
Your Sex', bit by bit, four bars at a time, with George playing all of the instruments. Then,
when we got to Puk, he had the idea for Part 2 in his head, to lengthen the story. So, we
recorded that with Deon Estus on bass, George on guitar and keyboards, and a seven-
piece brass section. This was done in two- to four-bar musical increments, and those
brass players weren't always amenable to that approach. Paul Spong and Steve Sidwell
were playing trumpet, and working for really long periods of time could get to their lips.
Still, we were all young, we were in a fantastic place, it was a creative process and it was
really exciting.

"The desk at Puk had 28 channels on either side, so I had the original multitrack on one
side and what would be the new version on the other side. I was bouncing from the
master over to the slave for the crossover point as the musicians went into this new
section, and George would tell them 'Play something like this,' they'd rehearse the part
and we'd drop it in. If it didn't work, we'd drop it in again, and then George would say,
'Okay, now what if it went something like this for the next few bars?' After another
rehearsal, we'd drop-in those few bars, and that's how the whole thing got built up from
beginning to end, over the course of eight or nine hours in a single night.

"By then, Part 1 had already been selected as the next single, but Part 2 added depth for
the version that appeared on the album with more of a New York club sound, and then
the romantic, altogether smoother Part 3 was my favourite bit... although I can't now
remember how it came about.”

Published March 2013

BUY PDF VERSION

Issue navigator
Previous article Next article

https://www.soundonsound.com/people/classic-tracks-george-michael-faith 6/8
11/29/2017 Classic Tracks: George Michael ‘Faith’ |
SOS - TWITTER SOS - FACEBOOK FORUM

New topics
Sound On Sound Sound On Sound
@sospublications 164,356 likes
New Monitor Speakers 
If Melodics was Guitar Hero for Drum Machines,
Version 2 could be Duolingo for Keys. Audio level very low on an interview recordin... 
sosm.ag/2BlQuhV
Like Page Learn More
Yamaha MG10 Mixer - WOT NO RETURNS?!! 

How do you get it right **every** time?! 

Sound On Sound
8 hours ago
2 Pc stream setup with Mixer, having issues. 
If Melodics is Guitar Hero for Drum Zoom TAC-2 and new iMac 2017 
Machines, Version 2 could be
Duolingo for Keys. Build project - resonator guitar from recycle... 

8h
For High Sierra users - security hole 
Sound On Sound Retweeted
Unbalanced louder than balanced? 
Time+Space
Doors for a studio 

           

Email: Contact SOS MY SOS MAGAZINE SUBSCRIBE

Telephone: +44 (0)1954 789888 My Account Current Issue Subscribe to Print, Web, Tablet
Change My Password Current Competition Renew / Upgrade your Subscription
Fax: +44 (0)1954 789895 My Subscription Subscribe Gift Subscription
My Shop Orders Publication Dates Print Edition FAQ
Registered O ce:
My eNewsletter Mailing Lists Purchase Back Issue Web Sub FAQ
Sound On Sound Ltd,
My Downloads Magazine Feedback Tablet Edition App FAQ
Media House,
Authors' Guidelines App Update 2017 FAQ
Trafalgar Way,
Archive Articles iPad Edition FAQ
Bar Hill,
Glossary Android Edition FAQ
Cambridge,
SOS Awards
CB23 8SQ,
United Kingdom
SOS SHOP
Product Departments
Sound On Sound Ltd is registered in Terms & Conditions
England and Wales.

Company Number: 3015516

VAT Number: GB 638 5307 26

         

FORUM SOS VIDEO

Latest Posts About Products, Interviews & Tutorials
Rules & Etiquette Advertising
Logos and Graphics
Licensing Enquiries

PODCASTS INFORMATION READERS' ADS

Latest Podcast Website Terms Of Use View all ads
Cookies & Site Security Create free ad
Privacy Policy
Site Analytics
Controlled Circulation
Ad Blockers Explained
Information

CONTACT SOS SEARCH SUPPORT PORTAL

Contact Sta Search Site

https://www.soundonsound.com/people/classic-tracks-george-michael-faith 7/8
11/29/2017 Classic Tracks: George Michael ‘Faith’ |

All contents copyright © SOS Publications Group and/or its licensors, 1985-2017. All rights reserved.
The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior
written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held
responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.

Web site designed & maintained by PB Associates & SOS

https://www.soundonsound.com/people/classic-tracks-george-michael-faith 8/8