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Well, again, a far too long story. |
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But in that same box where I looked recently, there were the original #1 Record 1/4" masters, inside the other boxes I had put them in long ago! |
neve1073 wrote on Fri, 11 February 2005 19:46 |
Re: Thirteen I love this track. The acoustic guitar sound is something to aspire to. Can you give us an idea of compression settings you used on this? I dont have a 176 but do have an 1176. Thanks also for the Gimmer tip. I've been relistening to thirteen and to gimmer and it totally makes sense. |
strawberrius wrote on Sat, 12 February 2005 11:28 |
... about the strat sound on "september gurls" especially the overdub solo-ish gtr pre V2 that ends in the "hard days night" chord. can u shed any light on how this tremendously awesome sound came to light? - doubled with slight varispeed? - D.I. or amp? - is it alex playing or chris? - which compressor? the 176 again? also what phasor pedal is used on the ballad of el goodo? |
bblackwood wrote on Sat, 12 February 2005 21:51 |
John Fry was a genius engineer. No wonder so many great engineers have gotten their start there (not talking about myself, of course). |
bblackwood wrote on Sun, 13 February 2005 03:51 |
About 5 years ago (while I was still at Ardent) I was put in charge of archiving all of the Big Star masters, which we did to both 1/2", 30ips analog tape and digitally at 24/44.1kHz. It was stunning to hear these mixes, cut in the early 70's, that were so clean and crisp, sounding amazing even today. |
Andi Gisler wrote on Sun, 13 February 2005 07:47 |
So did you hear the hybrid SACD version of '# 1/Radio City' ? I got an older 'Twofer' reissue that actually sounds pretty good. Wonder whether the SACD is worth buying? |
MB wrote on Mon, 14 February 2005 13:31 |
Fascinating stuff. Coincidently, the superior British pop culture magazine, Uncut, has a Big Star story in the March 2005 issue. Contrasts nicely with Terry's reminiscence. It totally misses the Gimmer Nicholson reference. I quote: "As 1972 ends, and with no sign of sales picking up, Big Star start work on a follow-up, but tensions are high. Bell is behaving increasingly erratically, fistfights break out between him, Hummel and Manning." Terry how does it feel that to read these types of rock mythologies? Seeing how you this is your life and all. Also, you said that you couldn't listen to or talk about Big Star for years, but you never said why. Could I be so bold and ask? Feel free to tell me where to stick it if this is none of our business. |
J.J. wrote on Sat, 19 February 2005 02:34 |
My Big Star CD is among the brightest I own. Is this just a mastering guy who really likes high end or were the tracks recorded and mixed that way. I personally dig it, and it sounds amazing on anything that I play it on, but I can't use the record to A/B during mixes without getting myself in serious treble trouble. |
J.J. wrote on Fri, 18 February 2005 20:34 |
... Big Star is always mentioned in my top five influences. I almost slapped a A&R guy at Atlantic east coast when he told me he'd never even heard of them! |
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I've always been very curious about what mics and positions were used. "Back of a Car" is pretty much the paradigm for my rock drum sounds. (In fact, I used to even do the snare at 11:00 thing, until about eight or so years ago. Everybody kept insisting that I put the snare up the center, so I conformed.) I pretty much get those sounds, but I really want to know how the methodology differs. |
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Also, you mention what a big influence the Beatles were, but what about groups like the Byrds? I hear so much of that, and of course they influenced the Beatles greatly during the Rubber Soul period. |
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And one more question for you and anybody else who cares to answer: My Big Star CD is among the brightest I own. Is this just a mastering guy who really likes high end or were the tracks recorded and mixed that way. I personally dig it, and it sounds amazing on anything that I play it on, but I can't use the record to A/B during mixes without getting myself in serious treble trouble. |
J.J. wrote on Sat, 26 February 2005 11:57 |
Terry, here's another BS question for you: Why was "O My Soul" done in mono? |
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Also, the bass on "September Gurls" sounds like something being picked with flatwound strings. I can't quite figure out what bass it is. Doesn't quite sound like a Fender. Is it a Gibson EB-1 or Gretsch? (If you have any recollection.) |
David Kulka wrote on Sat, 26 February 2005 22:05 |
I'd never heard of Big Star until seeing this thread but now I'm curious and I think I'll pick up a CD. Which one should I start with? |
mcfate wrote on Wed, 16 March 2005 02:22 |
Wow! This is an amazing forum, and a really great thread. Thanks again, Terry. I have kind of a follow-up question regarding the dynamics of the drums (and really, everything): Were you guys into any kind of expansion while tracking or mixing? I've often wondered while listening to those two records if there was any use of a Dolby A encoder, with no decode. Sorry if my chronology is off, I believe Dolby A was around at that time. Anyway, I know this technique was more popular at some point - bypassing certain filters to achieve different colors. Anything like that? Reading the thread it seems less likely to me now, but I've just always wondered particularly about the "magic" sound of the cymbal decay - and while I'm at it, is that a metal pick on the acoustic on "Feel"? I LOVE THAT SOUND! Thanks, Gideon |
standupbass wrote on Sun, 27 February 2005 00:28 |
Terry Manning, great stories on this board. Thanks. |
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It's interesting how split people are over what to listen to. Some put the "Sister Lovers/3rd" whatever it is record in a special category all by itself. |
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Some adore #1 Record. For me, Big Star was brightest on Radio City. |
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...got a great version of "I am the Cosmos" by the Posies, on 45 RPM transparent vinyl. I've heard the original, but don't think I have it around here. |
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...I bought an MCI board from the studio John Fry was working at a few years ago... |
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There was a lot of great stuff in this continuum, it's interesting to know a little more. I'll probably read the friggin book. |