Lesley Gore Recordings

[EarlSlick]

I know Quincy Jones recorded her, but does anyone know any details about how that stuff was recorded. Especially her vocals. It's some really cool sounding stuff. Thanks

Bart

[joeysimms]

I don't know, but on her first lp they have this under "Hi-FInformation":

This album was recorded monaurally and stereophonically at Bell Sound and A & R Studios, NYC, with Phil Ramone and Don Frey (alternate) at the controls. instruments and mikes used were as follows:

Lesley Gore - Telefunken U47
Vocal Group - Telefunken U48
Drums - Sony & Altec 633A;
Bass - AKG D24
Piano - Telefunken U47
Guitars - E/V 665
Trumpets - Beyer M160
Sax - Telefunken U47
Timpani - E/V 665
Vibes - Telefunken U47
Marimba - Telefunken U47
Percusssion - E/V 666
Organ - Western/Electric RA1142
Harpsichord - Telefunken KM54
Ondioline - RCA 77DX

This album was recorded on Ampex equipment at a speed of 15 ips

Quincy Jones
Musical Director


The masters for this album were transferred through an Ampex 301 tape machine, a Pultec Filter and Equalizer, Altec limiting Amplifier, MacIntosh monitor amplifier and a 150 watt power amplifier designed especially to drive the BBC Grampian Feedback Cutting Head..



There you have it.

[Mix413]

That stuff is quite good. I believe Q was more of an arranger than producer on these recordings. Check out "Maybe I Know". One of my all time favorites.

[mr scratchy esq]

Thanks for posting those liner notes! There should be a thread devoted to posting the liner notes of "classic" recordings that give detailed recording data.

Bill

[joeysimms]

That stuff is quite good. I believe Q was more of an arranger than producer on these recordings. Check out "Maybe I Know". One of my all time favorites.

Actually, I left out the arranger: Claus Oberman - his name seems to be on all of Lesley's stuff. But yeah, Quincy seems to be the overall musical director - probably in charge of what songs were gonna get tried, maybe also with a general arrangement idea to start from.

And.. ditto on 'Maybe I Know', what a perfect track. The flipside, 'Wonderboy', is really good, too.

[joelpatterson]

... showoff! ...

[Girl Toes]

Lesley Gore - Telefunken U47
Vocal Group - Telefunken U48
Drums - Sony & Altec 633A;
Bass - AKG D24
Piano - Telefunken U47
Guitars - E/V 665
Trumpets - Beyer M160
Sax - Telefunken U47
Timpani - E/V 665
Vibes - Telefunken U47
Marimba - Telefunken U47
Percusssion - E/V 666
Organ - Western/Electric RA1142
Harpsichord - Telefunken KM54
Ondioline - RCA 77DX

That the same set up I use, except I record Ondioline with the 47. Its a decent set up... for the price.

[EarlSlick]

Joey's post was great. Thanks to everyone who posted. If anyone else has anything, I'd be interested to hear.

Bart

[joeysimms]

Joey's post was great. Thanks to everyone who posted. If anyone else has anything, I'd be interested to hear.

Bart

thanks - all I did was copy the liner notes, but thanks!

[Cellotron]

Lesley Gore - Telefunken U47
Vocal Group - Telefunken U48
Drums - Sony & Altec 633A;
Bass - AKG D24
Piano - Telefunken U47
Guitars - E/V 665
Trumpets - Beyer M160
Sax - Telefunken U47
Timpani - E/V 665
Vibes - Telefunken U47
Marimba - Telefunken U47
Percusssion - E/V 666
Organ - Western/Electric RA1142
Harpsichord - Telefunken KM54
Ondioline - RCA 77DX

Now THAT's a mic closet!!

Best regards,
Steve Berson

[Brett Siler]

wheres the 57?

[Girl Toes]

wheres the 57?

In the future.

[matyas]

That the same set up I use, except I record Ondioline with the 47. Its a decent set up... for the price.

Man, you like a 47 on Ondioline? I tried a 47 on an Ondioline once, but I thought it sounded a little too thin. Next I tried a U67, but it just didn't have the top end I was after. Ondiolines are pretty tricky to record - you definitely want a good room for this. In my opinion the only real mic for recording Ondioline is the Fukuoka VMD-13, which is a really cool dynamic with a built-in tube pre-amp made in Japan during the war years. It actually has two capsules, front-to-back, so it's got a figure-8 pattern, and it puts out a ridiculously hot level - almost +5, actually, so be sure to use an inline pad. They're not easy to find, because the Japanese army destroyed most of them after the war, but they still turn up in places that the Japanese occupied during the war, like the Phillipines. I got mine from a guy in Guam who was using it as a ham radio mic. It sounds especially cool if you swap out the stock tube for a 546YGB, which is really cool tube that was made in the early 60s for the Israeli Defense Forces, although if you do try that you'll need to modify the power supply as well. With this mod, it not only sounds great on Ondioline, but it also rules on shenai, certain Tuvan throat singers, and 8-string octobass. I found that the original Japanese tube worked great in my RCM-8G, which is an awesome compressor that was made for Royal Canadian Mounted Police. It's actually modelled on the Federal Compressor, but to my ears it sounds a little more punchy. (Incidentally, this is the unit you want to be using to warm up those sarod samples for bhangra mixes.) So my standard signal chain for Ondioline would be the VMD-13, into the RCM-8G, followed by a Radio Shack 7-band graphic EQ (I replaced all the stock capacitors with some caps from an old Aiwa home stereo - it sounds awesome). I usually record at 176.2 kHz, because it's easier to downsample to 44.1 and I can keep the high end, but I use 16-bit wordlengths because I like the extra grid - really brings out the punch of the ondioline, especially if it's being played through a vintage Silvertone with new trannies and those cool Cold War-era Bukovic tubes from the former Yugoslavia.

[ubertar]

[joeysimms]