http://www.rogerjosephmanningjr.com/bartell/index.htmlcgarges wrote:SWEET! I knew it was coming soon. Where did you get it?inverseroom wrote:I also just ordered the new Moog Cookbook record, btw guys...
Chris Garges
Charlotte, NC
what happened to that "recording the beatles" book
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inverseroom
- on a wing and a prayer
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tonewoods
- buyin' a studio
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Do we have a ballpark ETA....?KevinRyan wrote:Yep. It shouldn't be TOO much longer until it can be in everyone's hands...
Hours, days, or months...?
Thanks!
Looking forward to seeing what you came up with...
Now all we need is a coffeetable book on microphone pornography....
I'm amazed that one hasn't been done...
"You see, the whole thing about recording is the attempt at verisimilitude--not truth, but the appearance of truth."
Jerry Wexler
Jerry Wexler
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inverseroom
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Ya know, I love The Beatles as much as anyone else (OK, maybe not everyone else, I?ve met and worked with some heavy Beatle freaks over the years) but I?m kinda sick and tired hearing about them, especially when it comes to recording.
Enough already, move on guys! Yeah they?re great, that is undeniable but man it?s almost like collecting stamps or some shit. People are sooooooo precious about them and anything and everything they came into contact with. There is a HUGE wealth of amazing songs, recording and music in general to study and enjoy.
I was at sitting in on a session one night and the Producer is a pretty famous songwriter/musician as well as being a HUGE Beatles nut. He was there with his engineer who is also a really well respected guy (he even appears here on this forum from time to time). Anyway, the producer has an old Martin there and he?s playing it and he goes ?Hey I finally figured out the right way to play??????? (can?t remember what Beatles song it was). I thought, this is one of the saddest, most pathetic things I have ever seen. This guy is in his 50?s, probably knows as much about The Beatles as anyone. I know for a fact he?s met a few of them over the years and????..he?s still spending his time learning Beatles songs? I?m sure if you asked him how to play Jimmy Johnson?s guitar part on Aretha?s ?I Never Loved a Man (The Way I Love You) he would be clueless, or Grady Robinson?s Spanish-style nylon playing on "El Paso? by Marty Robbins he?d be dumbfounded.
Why people aren?t studying the sounds of King Floyd?s ?Groove Me? which was done at Malaco, in Jackson, MS is unbelievable to me.
Going over The Beatles recordings with a magnifying glass and a fine toothed comb is not going to help get you anywhere. The info is already out there, take the ideas and experiment and make your own techniques instead of trying to recreate what has already been done.......... over and over again???to death. Save that $100 on that Beatles book and go have a nice dinner with your woman. You?ll reap more rewards.
Enough already, move on guys! Yeah they?re great, that is undeniable but man it?s almost like collecting stamps or some shit. People are sooooooo precious about them and anything and everything they came into contact with. There is a HUGE wealth of amazing songs, recording and music in general to study and enjoy.
I was at sitting in on a session one night and the Producer is a pretty famous songwriter/musician as well as being a HUGE Beatles nut. He was there with his engineer who is also a really well respected guy (he even appears here on this forum from time to time). Anyway, the producer has an old Martin there and he?s playing it and he goes ?Hey I finally figured out the right way to play??????? (can?t remember what Beatles song it was). I thought, this is one of the saddest, most pathetic things I have ever seen. This guy is in his 50?s, probably knows as much about The Beatles as anyone. I know for a fact he?s met a few of them over the years and????..he?s still spending his time learning Beatles songs? I?m sure if you asked him how to play Jimmy Johnson?s guitar part on Aretha?s ?I Never Loved a Man (The Way I Love You) he would be clueless, or Grady Robinson?s Spanish-style nylon playing on "El Paso? by Marty Robbins he?d be dumbfounded.
Why people aren?t studying the sounds of King Floyd?s ?Groove Me? which was done at Malaco, in Jackson, MS is unbelievable to me.
Going over The Beatles recordings with a magnifying glass and a fine toothed comb is not going to help get you anywhere. The info is already out there, take the ideas and experiment and make your own techniques instead of trying to recreate what has already been done.......... over and over again???to death. Save that $100 on that Beatles book and go have a nice dinner with your woman. You?ll reap more rewards.
Well,
I don't know. Maybe the dude wasn't spending time learning Beatles songs, and that's why he was happy that he "finally" learned one of them that maybe he had tried to learn 30 years ago at some point. I'm not trying to stand up for crazy blind-to-everything-else Beatle fanatics.
I do hate when you're at a little musical get together and the local high school band director is there and he plays everything from Yesterday to Maxwell's Silver Hammer on his acoustic/electric. Yay. And then when I play a Lightnin' Hopkins song he says "that was wierd. Who was that?" Answer: "Lighnin Hopkins" "Who's Lightnin Hopkins?"
Anyway, I still would like to get a good look at that book.
I think there's a few main reasons why everyone goes more nutso about the "what and how" of Beatles recordings.
1. Mystery. The info that is "out there" is often wrong. The Beatles and others have misled people enough that everyone is interested to know exactly what was going on on "Tommorow Never Knows" (if that is ever possible. Probably the real truth about a lot of this stuff is, no one remembers.) Mystery makes people curious. (Also insert Dylan here.)
2. The tape machine and production innovation on Revolver was really really really special. I mean, there are other albums by other folks that came later that are definately worth learning about, but this album is a benchmark. No one can deny that.
3. I think the amount of minds working together to make something rediculously unheard of w/ Revolver and Pepper is also special. George Martin, the engineers and all of the Beatles were insane with the amount of ideas each one brought to the table. It wasn't just, you know, Donovan has a good idea and can you guys hang out for a bit while he tries something. I think, for those of us who want to be creatively collaborative, the Beatles (not throughout they're entire recording history of course, as there were spats) are the group that comes to mind, (when they still liked each other,) as THE band it would be fun to be in.
-Actually I really don't know. Maybe a lot of it was, can you guys hang out for awhile while Paul tries something. So maybe the IDEA in people's minds of the Beatles in the studio is actually a lot bigger than the actual Beatles in the studio.
Another reason to read the book I guess.
I don't know. Maybe the dude wasn't spending time learning Beatles songs, and that's why he was happy that he "finally" learned one of them that maybe he had tried to learn 30 years ago at some point. I'm not trying to stand up for crazy blind-to-everything-else Beatle fanatics.
I do hate when you're at a little musical get together and the local high school band director is there and he plays everything from Yesterday to Maxwell's Silver Hammer on his acoustic/electric. Yay. And then when I play a Lightnin' Hopkins song he says "that was wierd. Who was that?" Answer: "Lighnin Hopkins" "Who's Lightnin Hopkins?"
Anyway, I still would like to get a good look at that book.
I think there's a few main reasons why everyone goes more nutso about the "what and how" of Beatles recordings.
1. Mystery. The info that is "out there" is often wrong. The Beatles and others have misled people enough that everyone is interested to know exactly what was going on on "Tommorow Never Knows" (if that is ever possible. Probably the real truth about a lot of this stuff is, no one remembers.) Mystery makes people curious. (Also insert Dylan here.)
2. The tape machine and production innovation on Revolver was really really really special. I mean, there are other albums by other folks that came later that are definately worth learning about, but this album is a benchmark. No one can deny that.
3. I think the amount of minds working together to make something rediculously unheard of w/ Revolver and Pepper is also special. George Martin, the engineers and all of the Beatles were insane with the amount of ideas each one brought to the table. It wasn't just, you know, Donovan has a good idea and can you guys hang out for a bit while he tries something. I think, for those of us who want to be creatively collaborative, the Beatles (not throughout they're entire recording history of course, as there were spats) are the group that comes to mind, (when they still liked each other,) as THE band it would be fun to be in.
-Actually I really don't know. Maybe a lot of it was, can you guys hang out for awhile while Paul tries something. So maybe the IDEA in people's minds of the Beatles in the studio is actually a lot bigger than the actual Beatles in the studio.
Another reason to read the book I guess.
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tonewoods
- buyin' a studio
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Great...KevinRyan wrote:Well, just wait. I think our book might get your heart racing a little bit! Kevin
Again, do we have a ballpark ETA....?
Hours, days, or months...??
Thanks...
"You see, the whole thing about recording is the attempt at verisimilitude--not truth, but the appearance of truth."
Jerry Wexler
Jerry Wexler
Well, if you click on the link waaay up there in the thread, and go to their page, it says "Available August 2006" right smack dab at the top of the page.tonewoods wrote:Great...KevinRyan wrote:Well, just wait. I think our book might get your heart racing a little bit! Kevin
Again, do we have a ballpark ETA....?
Hours, days, or months...??
Thanks...
"If you will starve unless you become a rock star, then you have bigger problems than whether or not you are a rock star. " - Steve Albini
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BrianK
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>>Save that $100 on that Beatles book and go have a nice dinner with your woman. You?ll reap more rewards.<<
Or, if the book teaches you to BE EXPERIMENTAL and try new things, it may be a wise investment, applicable for your whole life in music. This is truly the lesson of the Beatles work, and I don't think people really "get it" yet. I see another thread where someone states "This is what they did on drums..." - these types of misconceptions are quite unfair to the Beatles' approach - they changed a lot.
I don't suggest the book is your best investment, but it is NOT intended for people to "copy the Beatles". It's a history book (not an instruction book) - to learn how people approached things back then. You will be surprised at how many things people know are wrong, or miss how creative they really were. Their work is inspiring and makes you want to make records.
However, I agree the band is referenced too much. I think one of the main reasons you see people so obsessive about the Beatles (I'm not one of them) is that they hit SO many different styles, and did them so damn WELL. Even the artists and tracks you cite do not cover a range as far as the Beatles, not much range at all. Queen and Led Zeppelin are about the only bands I know that were popular/influential and had such a range done exceptionally well.
Or, if the book teaches you to BE EXPERIMENTAL and try new things, it may be a wise investment, applicable for your whole life in music. This is truly the lesson of the Beatles work, and I don't think people really "get it" yet. I see another thread where someone states "This is what they did on drums..." - these types of misconceptions are quite unfair to the Beatles' approach - they changed a lot.
I don't suggest the book is your best investment, but it is NOT intended for people to "copy the Beatles". It's a history book (not an instruction book) - to learn how people approached things back then. You will be surprised at how many things people know are wrong, or miss how creative they really were. Their work is inspiring and makes you want to make records.
However, I agree the band is referenced too much. I think one of the main reasons you see people so obsessive about the Beatles (I'm not one of them) is that they hit SO many different styles, and did them so damn WELL. Even the artists and tracks you cite do not cover a range as far as the Beatles, not much range at all. Queen and Led Zeppelin are about the only bands I know that were popular/influential and had such a range done exceptionally well.
Last edited by BrianK on Sat Apr 15, 2006 3:57 pm, edited 1 time in total.
Relax and float downstream...
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soundguy
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especially when you come to realize that so much of the equipment they used was either fully custom one off stuff, in house modified work that EMI had done or for the common commercial items they did use, ludicrously expensive for no good reason. Combine that with the fact that the gear was either operated by a beatle or a similar talent behind the glass really makes what anybody did there pretty much irrelevant unless you posess that skill set in which case you wouldnt need to know because you'd know already.Catoogie wrote: Going over The Beatles recordings with a magnifying glass and a fine toothed comb is not going to help get you anywhere.
some of it, yes, amidst a sea of bad information and speculation too. If you didnt knwo better you'd think that going over to trident to track hey jude was the only time they ever left abbey road...The info is already out there,
dave
http://www.glideonfade.com
one hundred percent discrete transistor recording with style and care.
one hundred percent discrete transistor recording with style and care.
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