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[spoon]

RSettee wrote on Thu, 02 August 2007 23:37

Hell, they sounded better than most major label bands at that time--because it was a really in your face sound, without being really overprocessed in those days of horrible gated drums and long tail reverbs that really dated recordings. I mean, that's why those Pixies records stand up well even by today's standards, because they elevated the sound and possibilities from smaller budgets. When I mentioned "big budget", I thought that they did the album for 20-30 grand (big budget for a small indie label/ band), but actually, it being just over 11 grand really emphasizes what Steve really did for bands and his own rep, at that point.

Better than most major label stuff for sure.  Was that not still the hair band / Bon Jovi days...but I digress....

$11K for 10 days in 1988 was a good chunk of change.  Not quite big budget, but bigger than most indie bands of the Pixies then-standing had.  But you are right, they were _very_ tight with those songs.

That was the last album that was not really over-processed.  After that, Gil Norton took over and those very gated-reverb snares you mentioned are in full effect (among other things).  
I still think it sounds great, but Surfer definitely sounds more like them live than Dolittle (which had the "mega" budget of $60K btw).

Cheers,
David

[bradwood]

Thanks, RSettee, for putting some perspective on SA's contributions. Its easy to forget how awful most recordings sounded in the late 80's (awful to these ears, anyway). It was amazing to see Husker Du live & experience their full power compared to their records. New Day Rising was an improvement, but I still reached for the bass control on whatever stereo it was playing on. Steve's, Butch Vig's & Iain Burgess'  recordings were the rays of hope in a pretty bleak landscape. Its not easy at all to capture loud guitars, loud bass, loud drums & loud vocals accurately- I've tried for 20 years & I still feel inadequate at times. When Brian Deck & I started our studio in 1988, we wrestled, as any recordist does, with how to deal with extreme volume & dynamics. Steve & Iain were gracious with answers to every stupid question we bothered them with (until Iain moved to France & started living the good life). Those guys were in marked contrast to the tools we worked for who would literally cover the console with track sheets so you couldn't see their eq or compression settings & would stonewall every question. This job of recording is a damn mystery & Steve has helped dispel a lot of the myths about the process. Do I like every record Steve's recorded? Not by a long shot, but I can't forget the huge contribution he has made to our industry at a time when it really needed it. Thanks again, RSettee, for the reminder.


Best- Brad

[NelsonL]

13 songs came out in 1990-- I think it sounds really cool, not at all flat.

[j.hall]

bradwood wrote on Fri, 03 August 2007 11:15

Those guys were in marked contrast to the tools we worked for who would literally cover the console with track sheets so you couldn't see their eq or compression settings & would stonewall every question. This job of recording is a damn mystery & Steve has helped dispel a lot of the myths about the process.

good perspective, thanks brad!

[RSettee]

bradwood wrote on Fri, 03 August 2007 11:15

Thanks, RSettee, for putting some perspective on SA's contributions. Its easy to forget how awful most recordings sounded in the late 80's (awful to these ears, anyway). It was amazing to see Husker Du live & experience their full power compared to their records. New Day Rising was an improvement, but I still reached for the bass control on whatever stereo it was playing on. Steve's, Butch Vig's & Iain Burgess'  recordings were the rays of hope in a pretty bleak landscape. Its not easy at all to capture loud guitars, loud bass, loud drums & loud vocals accurately- I've tried for 20 years & I still feel inadequate at times. When Brian Deck & I started our studio in 1988, we wrestled, as any recordist does, with how to deal with extreme volume & dynamics. Steve & Iain were gracious with answers to every stupid question we bothered them with (until Iain moved to France & started living the good life). Those guys were in marked contrast to the tools we worked for who would literally cover the console with track sheets so you couldn't see their eq or compression settings & would stonewall every question. This job of recording is a damn mystery & Steve has helped dispel a lot of the myths about the process. Do I like every record Steve's recorded? Not by a long shot, but I can't forget the huge contribution he has made to our industry at a time when it really needed it. Thanks again, RSettee, for the reminder. Best- Brad

No problem! Hey, is the Brad Wood that recorded the Veruca Salt and Liz Phair albums? If so, I thought you did a good job of getting those bands a unique sound of their own, bridging the gap between the glossy hi fi thing and the intimacy of what was going on in the indie rock world.

Butch, Ian and Steve really did elevate the sound of the underground. Ian's work on the Didjits' "Hey Judester" and "Hornet Pinata" still sound very good to this day and captured that band correctly. I forgot one guy though--Jack Endino...thank him, too. Another guy that did a great job on underground recordings way back, was Brian Paulson--who recorded Slint's "Spiderland", which is arguably one of the greatest sounding records--for 1991, for any year, for any big budget album, let alone a Touch and Go record! His career never really took off, he assisted on some Dino Jr. records, and I didn't see his name on many records other than a Royal Trux album.

[pg666]

Quote:

Another guy that did a great job on underground recordings way back, was Brian Paulson--who recorded Slint's "Spiderland", which is arguably one of the greatest sounding records--for 1991, for any year, for any big budget album, let alone a Touch and Go record! His career never really took off, he assisted on some Dino Jr. records, and I didn't see his name on many records other than a Royal Trux album.

He's done some high quality work for Arcwelder, Flour, A Minor Forest, and US Maple. the latter's 2001 record 'Acre Thrills' sounds spectacular off of vinyl.

[bradwood]

RSettee wrote on Wed, 08 August 2007 10:26I forgot one guy though--Jack Endino...thank him, too. Another guy that did a great job on underground recordings way back, was Brian Paulson--who recorded Slint's "Spiderland", which is arguably one of the greatest [i

sounding[/i] records--for 1991, for any year, for any big budget album, let alone a Touch and Go record! His career never really took off, he assisted on some Dino Jr. records, and I didn't see his name on many records other than a Royal Trux album.

Jack was not much of a direct influence for me- probably because of his location- but when Spiderland came out it was like a bomb went off. Everybody shat the bed & nothing was the same afterward. Brian P has kept pretty busy- check out the new Sea & Cake- but seems to keep an admirably low profile. Anyway- now that we've completely jacked this thread- let's hear more about the session. Does that adobe brick still smell like poo?


Best- Brad

[RSettee]

Duly noted! I must, for whatever reason, not buy many albums by other bands that he's worked with. I think that he's probably my favorite producer/ engineer, sonically--he really has got some awesome sounds on recordings.

[mitgong]

The studio had a smell I've only ever smelled in other studios.

THE SMELL OF FEAR.

Just kidding.  No stinks.  Folks smoke there, though.

[bradwood]

mitgong wrote on Wed, 08 August 2007 21:39

The studio had a smell I've only ever smelled in other studios. THE SMELL OF FEAR. Just kidding.  No stinks.  Folks smoke there, though.

Talk of smells reminds of a Tar session @ Idful Music (circa 1989?) when SA visited and, by way of helping the recording process, proceeded to crush tiny vials filled with some sulfer-type liquid in the live room, lounge & control room. Talk about an eye-watering, cowshit rotten egg gag-inducing stench. Then, he runs. A top-drawer gag & the effect was short. I think it set off a chain of retribution, but I can't really remember the final outcome. I'm sure it smelled lovely...


Best- Brad

[RSettee]

Those little glass vials? Heh, those were those stinkbombs that were going around. And I agree, those were rotten egg salad meets pungent chili fart type noxious. Always fun to break in school--they really caused quite a ruckus!

[TheViking]

So...   about that picture of the drumset with the microphones around it...

[NelsonL]

Funny thing, this thread actually did get me thinking about what I like about SA drum sounds and has influenced the session I'm doing right now.

Gtr. player is actually dancing in the control room as he solos--but that's unrelated.

[goldstar]

Hey, what happened to the reply I read from Albini a few days go? and the one from j?  I'm surely not the only one who saw it, am I?

Frank

[Tom C]

Welcome to the REP, the land of disappearing postings!