David Kulka wrote on Fri, 11 February 2005 00:25 |
All in all the Memphis hits sounded pretty damn good and trust me, I have listened to a lot of those records -- a lot. "Comparisons are odious" they say, and generalizations aren't much better but I'll stick my neck out and say that in my opinion, Stax and the associated Memphis labels beat the Atlantic disks in terms of sound quality. (By the way, wasn't Stax distributed by Atlantic, and didn't they use the same pressing plants? The disks looked and felt the same. And where were the Stax records mastered? Locally, or at the pressing plants, or in New York?) |
Bob Olhsson wrote on Fri, 11 February 2005 01:11 |
I could (should?) write a book. |
steveeastend wrote on Fri, 18 February 2005 16:08 |
...again Spectrasonics... There has to be something special about this...? cheers steveeastend |
J.J. wrote on Fri, 18 February 2005 20:08 |
The Newport Jazz Festival recordings from the late 1950s and 1960s all sound great. You had a stage full of U47s with make shift pop filters on them! |
J.J. wrote on Fri, 18 February 2005 21:08 |
David, I believe that the Mussel Shoals studio had a going through by Tom Dowd, who was recording many of the Atlantic sessions there, like Aretha and Otis Redding. That could account for the good sound that came out of there.... |
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....Then I listen to those 1970's Al Green records, and even though they have vibe for days, they sound terrible.... |
WhyKooper wrote on Sat, 19 February 2005 10:43 |
I like the dry quality of the drums/strings etc on the "Still In Love With You" mix. I wasn't really used to hearing strings and dry brass mixes that way at the time that recording came out. Or hi-hats so far out front. Everything seems close mic'd, no reverb..well I don't hear it anyway if it's there. That mix certainly adds to a great vibe imo. |
Level wrote on Fri, 04 March 2005 03:01 |
Here is 1968. Still sounding good!! Snip for educational purposes: Blood Sweat and Tears 2nd Album... |
J.J. wrote on Fri, 04 March 2005 13:12 |
BTW, speaking of amazing sounding albums, who did all the 10CC records? Terry, don't tell me you had a hand in those, too. |
David Kulka wrote on Sun, 06 March 2005 14:51 |
While the last round of tube gear represented a mature technology and the first waves of transistor stuff were a little primitive by comparison, I don't think this really accounts for the lesser quality recordings that I was referring to... |
WhyKooper wrote on Fri, 11 March 2005 10:12 |
If Les Paul had Ampex build a custom 8 track recorder for him in 1953 (or whenever it was)...which worked well, WHY did it then take 10 or 15 years before these things were dumped into the market....W-h-a-t was everyone thinking? |
Murray Cullen wrote on Fri, 11 March 2005 20:57 |
Motown bass sound infuenced McCartney's bass sound (starting with "Revolver"). |
Bob Olhsson wrote on Sat, 12 March 2005 09:20 | ||
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David Kulka wrote on Fri, 11 March 2005 01:55 |
In a way this is Part 2 of the previous thread. On the "60's and 70's songs that stand out" thread, I was tickled to see that someone mentioned "Laugh Laugh" by The Beau Brummels. I'm pretty sure that my uncle, Leo Kulka, recorded that one at Golden State Recorders, his studio in San Francisco. (A recent Mix article gives him credit for it, though I have also seen Coast mentioned -- maybe someone else knows.) I'm not sure whether I've mentioned Leo on this forum, but he was a recording veteran with many decades as a recording engineer. I won't get into the story of his career, but anyone who's interested can find an article about him on my site, in the Scrapbook section. L |