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Author Topic: About Sixties Reverb:  (Read 21052 times)

canada

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Re: About Sixties Reverb:
« Reply #30 on: February 22, 2005, 07:45:39 am »

Sounds like an interesting book, I'd hope it doesn't re-cover too much ground from other works though.  Definately looking forward to checking it out.




especially the part about the reverb!
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you're not to be so blind with patriotism that you can't face reality. wrong is wrong, no matter who does it or says it  -       malcolm x

compasspnt

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Re: About Sixties Reverb:
« Reply #31 on: October 12, 2005, 11:53:46 pm »

George Massenburg wrote on Sun, 06 February 2005 07:32

Hey Terry,

I'm a HUGE fan of "Trashy Dog".  I would appear that you engineered that as well as played everything that Cropper and Pop Staples didn't.  And, in fact, you don't have alot of engineering credits.  What did you do back then?

George




Hey George,

Sorry to be so long in answering this post, but for some reason, I just now saw it, and that was almost by accident!

Thanks for the nice comments regarding "Trashy Dog."  I originally recorded that track for a solo album that was released by me as artist on Stax's Enterprise label.  On that version, it had a (very tongue-in-cheek) "vocal" which delineated the dance known in my head  as the Trashy Dog.  Obviously the version you're referring to was the one by Steve Cropper, Albert King, and Pop Staples, on the "Jammed Together" album.  When Stax was preparing that album, they were looking for tracks for one or all of those guys to play on.  They liked the "Trashy Dog" track, and we decided to use it for Albert.  Steve Cropper often got credit for playing on that, but it was actually me.  I played everything except the drums (Steve Rhea) and the overdubs by Albert.  Of course, I engineered and mixed it.

"Back then," I guess I did a lot of everything, from writing to playing to engineering to mixing to producing;  really, the same as today...sad that I haven't progressed, at least to the A&R stage as yet...but you're correct, credits weren't dished out "back then" like they are today, so often none of us were credited for tasks such as engineering, or perhaps even producing!

Sorry I missed seeing you at AES...I came to one of the playbacks, but you'd already started.  Next time, I hope!

Best wishes,

Terry
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vernier

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Re: About Sixties Reverb:
« Reply #32 on: October 13, 2005, 12:41:09 am »

Some great recordings with live chambers: Simon & Garfunkle (Columbia), CSN&Y (Heider), Byrds (Columbia), Sinatra (Capitol), and David Crosby "If I Could Only Remember My Name" (Heider), which is a great example of what a digital verb *can't* sound like.
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Sarusan

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Re: About Sixties Reverb:
« Reply #33 on: October 14, 2005, 02:22:39 pm »

David Kulka wrote on Sun, 30 January 2005 07:46

As I recall, Chamber 3 at Western (the one connected to Studio 3, where the Beach Boys hits were made) was in the back of the building,


Were the chambers hard wired to the studios then?  The verb on the Mamas and Papas records, which I'm assuming were mixed in Studio 3, sounds more like chamber 5 which is off the back alley on the second floor.


Steven


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vernier

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Re: About Sixties Reverb:
« Reply #34 on: October 14, 2005, 05:44:56 pm »

You reserve the chamber, then patch in from whatever control room you're in.
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Sarusan

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Re: About Sixties Reverb:
« Reply #35 on: October 15, 2005, 12:57:24 am »

vernier wrote on Fri, 14 October 2005 14:44

You reserve the chamber, then patch in from whatever control room you're in.


I was lucky to spend a lot of time at Cello and get familiar with the chambers there and how to access them.  I'm curious as to whether they were dedicated to specific rooms in the past and not on a patch bay.

Steven




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robmix

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Re: About Sixties Reverb:
« Reply #36 on: October 15, 2005, 05:44:11 am »

Sarusan wrote on Fri, 14 October 2005 11:22

David Kulka wrote on Sun, 30 January 2005 07:46

As I recall, Chamber 3 at Western (the one connected to Studio 3, where the Beach Boys hits were made) was in the back of the building,


Were the chambers hard wired to the studios then?  The verb on the Mamas and Papas records, which I'm assuming were mixed in Studio 3, sounds more like chamber 5 which is off the back alley on the second floor.


Steven





I recently heard that the Mamas and the Papas also recorded at ABC/Dunhill which later became Lionshare. Three chambers there, all of which are now storage rooms.

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Josht

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Re: About Sixties Reverb:
« Reply #37 on: October 15, 2005, 01:30:40 pm »

I know this is kind of out of the time period being discussed, but does anybody know what the reverb on Fleetwood Mac's Rumours and Fleetwood Mac album are from?
Josh
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vernier

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Re: About Sixties Reverb:
« Reply #38 on: October 16, 2005, 02:23:42 am »

Whatever Sound City and Record Plant had at the time, (which I don't know).
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compasspnt

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Re: About Sixties Reverb:
« Reply #39 on: February 24, 2008, 12:35:53 am »

Antti Uusimaki wrote on Sun, 30 January 2005 11:14

Abbey Road still has the echo chamber in studio 2 and
6 EMT plates if I remember right. Terry, you recorded
Isaac Hayes's 'Walk On By', right? One of my all time
favourites and a reference. What was your approach
to that? Mics, mic placement? What was the set up for strings?
12-2-2? Was it cut live or did you overdub some parts? Thanks,

Antti


Hey Antti,

Three years late here (sorry, but somehow missed the question the first time around).

Yes, I recorded Walk On By with Isaac.

It was done almost all live, except for the strings.  Even the vocal was done with the band, Ike singing live as he played Hammond and directed the players.  There were a few vocal direction comments (chord changes, timings) that had to be removed from the mix.

The setup would have been my normal one, mostly Neumanns of the day, esp 87, 86, 84, and things minimally mic'd.

The strings were overdubed, and I have now forgotten the exact setup, but 12-2-2 sounds prob about right.

Best (late) regards.
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aamicrophones

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Re: About Sixties Reverb:
« Reply #40 on: July 18, 2008, 03:37:44 am »

According to an interview I read with George Martin.  The "chamber" at Abbey Road were large concrete Culverts with a Tannoy at one end and a microphone at the other.  Which I believe was a ribbon but don't quote me on that.

Dave Thomas
www.aamicrophones.com
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compasspnt

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Re: About Sixties Reverb:
« Reply #41 on: July 18, 2008, 09:48:57 am »

Actually the Studio Two chamber is a fairly large-ish room with several "rounded concrete road-culvert thingys" placed at odd intervals inside.

The mics when I used them (early 80's-90's) were Neumann though, although they have probably been changed many times over the years.
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jimmyjazz

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Re: About Sixties Reverb:
« Reply #42 on: July 22, 2008, 11:18:40 am »

My mix room has access to 2 large spaces that might work well as chambers.  One is very hard and live, and the other is softer and more diffuse.

Any suggestions on a basic setup to try first?  Should I drive the space with a full-range monitor or something smaller?  Should I pick up the wet signal with an LDC, a SDC, a ribbon, or a dynamic mic?  Omni?  Cardioid?  Other?  Drive from the boundaries or the center of the space?  Record from the boundaries or the center?

I know, I know . . . "yes"!
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compasspnt

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Re: About Sixties Reverb:
« Reply #43 on: July 22, 2008, 12:05:39 pm »

Jimmy, it truly is just trial and error.  Some of the coolest chambers I've ever used seemed to slightly defy logic at times.

I've even used a bathroom that sounded great.

Currently, I have KRK's (forgot the model, they have yellow cones), 2 of them, driving the room, and Beyer dynamics picking up.

Neumanns (old ones, such as 84's) work well, but usually it comes down to sing something that is not as essential in the studio itself.

I have been wanting to try something new and sdc, such as NT-5's in there though.

Good luck.
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jimmyjazz

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Re: About Sixties Reverb:
« Reply #44 on: July 22, 2008, 12:35:28 pm »

Thanks, Terry.  If you're using 2 monitors to drive the chamber, does that mean you're sending a stereo feed at times?
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