Post by: hismastervoices on December 26, 2010, 06:13:43 PM
Best regards
Post by: Fletcher on December 27, 2010, 10:15:02 AM
I realize you're looking for information on a console - but unfortunately I have a feeling it will require more information on your end to get a possible response.
From your description, I've never heard of the thing -- not that I've heard of every piece of equipment ever made -- but I have heard [and heard of] a pretty fair bit.
On this "Boston" console - any idea around what time period it was installed? Any idea of which facility had the unit(s)? It may be possible to give a couple of shouts to people who may have some information for you, but I'll need a bit more information before I have an idea of to whom I should forward a link to this thread [if anyone - I may not know anyone with any information].
Peace.
Post by: Peter Weihe on December 27, 2010, 01:47:40 PM
I remember to have played a session through a Philips/ Grammophon console in the Phonogram Studio, Hamburg in the early 80s.
It looked like this one - except for the Mac display of coarse -:
Peter
Post by: Bubba#$%Kron on December 28, 2010, 02:06:34 AM
| Peter Weihe wrote on Mon, 27 December 2010 10:47 |
Hi, I remember to have played a session through a Philips/ Grammophon console in the Phonogram Studio, Hamburg in the early 80s. It looked like this one - except for the Mac display of coarse -: Peter |
Post by: Peter Weihe on December 30, 2010, 05:34:18 PM
| Bubba Kron wrote on Tue, 28 December 2010 08:06 |
Hoe did it sound? |
Sorry but I don't remember.
I just spent some hours in that studio and played a couple of basic tracks with some quick overdubs.
But that's an interesting question because when I think about it I realize that we session musicians didn't care unless it sounded really shitty or fantastic.
There where so many other aspects that were in our focus.
1. The song.
2. The artist, his feel, his voice, the performance.
3. The arrangement. All written or head-arrangements (master the difficult parts.)
4. Who were the other players.
5. Our sound in the room.
6. Our sound in the headphones. (engineer)
7. Communication. ( engineer, producer, arranger)
8. Get the feel for the song
9. Find the appropriate sound for my instrument, figure out the right part.
10. Were we able to create that vibe that the producer, the artist, the arranger
had in mind and ideally could we all together ride on that wave.
11. Have fun!
12. Mic choice and position. (engineer) Only if something sounded wrong.
There were some recording spaces that sounded great and there were some where it was harder to get a good sound.
Whenever it was a jaw dropping experience to listen back to the tracks in the control room we knew it was the engineer who created that sound.
Some of the studios with great rooms and a great engineer switched consoles over the years and the great sound stayed.
That was easy to find out when some day another engineers sat at the same desk.
I only started to be concerned about consoles in studios other than my own, when ADATs entered the scene and
all of a sudden we found ourselves recording in strange rooms with all kinds of strange equipment and wiring.
I started to carry a choice of microphones and my own mic pre amps with me just to make sure that my sounds could make it to the converters.
Peter