In the studio:
    I did several mastering jobs with Punch on Bob Seger & another project he was handling called "The Phantom."  I also engineered for him on a rock group he was signing in the early 70's.
     During the mastering jobs it quickly became apparent that Punch was a perfectionist and we were always on the same wavelength.  In the studio's control room I was introduced to another aspect of Punch. 
    Three decades ago the producer usually was in the studio room, "directing" the musicians while recording and came into the control room once the take was done.  I found out quickly that Punch could quickly get hot under the collar and very loud.  As we we tracked the album I was recording he began yelling at the band about how they were playing the songs.  I quickly decided that Punch didn't consider it good rock-n-roll unless everyone was pissed.  In hind sight, the more he yelled the better the band performed, so I have to give him that. 
     Although Punch was very good at hearing if things going his way or not, he wasn't very good at finding the reason for the problem.  During mixing one day he got angry because the sound "suddenly went to s..t"  As he was yelling at me about what he thought the problem was I realized that I had inadvertently reduced the monitor volume.  Knowing that that wouldn't satisfy him I reached for an equalizer with my right hand and clicked it one position.  The equalizer wasn't active but Punch was happy, because he didn't notice that I increased the monitoring volume with my left hand at the same time. I used that EQ trick a couple more times during the mixing of the product, and Punch even called me to tell me how good the final sound on the project was.
The Hot & Cold Switch
    Because of my experiences with Punch I later invented the "hot" and "cold" monitoring switch. On our API counsel there were two big square buttons in the middle of the panel that originally controlled a relay that switched monitor speakers.  This switch had no function any more but if you pushed the buttons, a relay in the console made a very noticeable "click."
    With certain producers I would tell them that this was a "hot" and "mellow" switch.  I told them if they wanted a "hot" monitoring sound to push the red button and if they wanted a "mellow" monitor sound to push the green button.  Many of these producers heard the difference even though the switch wasn't doing a thing.  I never got a chance to use this with Punch (although working with him inspired the switch) because after Bob signed with Capitol Records he did most of his work in Mussel Shoals.
What I Learned Working With Punch
     As I said previously, the most noticeable thing about Punch is that he was a perfectionist.  This is a common trait with all successful producers I have worked with.  Although it didn't always appreciate the controversy of the sessions, setting and keeping the "mood" for the recording project helps get the proper results.