1950's techniques, equiptment, and workflow
1950's techniques, equiptment, and workflow
Hi all. I am research 1950?s early 60?s recording and studio techniques. I am planning to record a rock and roll session using only equipment and techniques in the late 1950?s. I may press a few records depending on how the recording turns out. I would love to know the specifics of recording back then including how session were set up and documented. I plan to use Protools as a tape recorder only. Can any one point to helpful information on this topic. Or do any of you have experience in the older techniques, equipment, and workflow.
Thanks
Nick
Thanks
Nick
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- steve albini likes it
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- moves faders with mind
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Plenty of relevant info here:
http://en.wikipedia.org/wiki/History_of ... _recording
8 track came about in 1957, but was an esoteric and rare thing. Like for the alien genius of Les Paul & Mary Ford.
3 channel was much more common through the 50's, but didn't allow overdubbing.
So limit yourself to 3 tracks (L-C-R), and do bounces if you need more than that.
http://en.wikipedia.org/wiki/History_of ... _recording
8 track came about in 1957, but was an esoteric and rare thing. Like for the alien genius of Les Paul & Mary Ford.
3 channel was much more common through the 50's, but didn't allow overdubbing.
So limit yourself to 3 tracks (L-C-R), and do bounces if you need more than that.
"What fer?"
"Cat fur, to make kitten britches."
"Cat fur, to make kitten britches."
Minimal mics, premixing, one 'special effect' used to death b/c it's the only one available (prolly some iteration of 'verb/tape delay), signal paths going thru the least necessary number of tubes, transformers, and bounces to avoid signal degredation and encroachment upon an already limited dynamic range. Oh, and a control room/monitoring system that's really not quite so bad once you factor in the difficulty of capturing/reproducing the extremes of the frequency spectrum. We're talking ENIAC times...
good luck, sounds like fun! i mean it.
good luck, sounds like fun! i mean it.
Village Idiot.
- A.David.MacKinnon
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Sounds really fun.
You should be thinking about -
- very limited track counts (1-3 most likely)
- lots of pre-mixing of your minimal mic set-up (probably something like band mixed to track 1, vocal on track 2, and if you were lucky enough to have the extra track orchestra and children's choir on track 3)
- tape delay and chamber reverb (no plug-ins, a real room with a speaker and mic).
Beyond that, it's about capturing a real performance in the room.
You should be thinking about -
- very limited track counts (1-3 most likely)
- lots of pre-mixing of your minimal mic set-up (probably something like band mixed to track 1, vocal on track 2, and if you were lucky enough to have the extra track orchestra and children's choir on track 3)
- tape delay and chamber reverb (no plug-ins, a real room with a speaker and mic).
Beyond that, it's about capturing a real performance in the room.
- Gregg Juke
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Maybe someone will put up a link to my post from a couple of years ago-- podcast interview with Bob Olhsson (of Motown/Hitsville fame). The guy is a font of historical audio/media/music business information. Search for it here at the TOMB. If you can't find it, I'll dig it up later (bit of a pain for me to do it right now; I'm on an iPhone with buggy System 7.0)... If you dare to leave the safety of the TOMB and go over to the dark side (Gear Slutz), you could try posting your questions and see if he responds. He's a great guy and extremely knowledgeable...
GJ
GJ
Gregg Juke
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"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
Nocturnal Productions Music Group
Drum! Magazine Contributor
http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
- I'm Painting Again
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you ought to try joining the ampex mailing list
http://recordist.com/ampex/
this is where many of our senior techs reside..I'd think many of them would be happy to provide you with information..
http://recordist.com/ampex/
this is where many of our senior techs reside..I'd think many of them would be happy to provide you with information..
- Dr Rubberfunk
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I know you're aiming for Rock and Roll rather than Jazz, but this is an interesting article on recording Dave Brubeck at Columbia in the late 50's / early 60's. Some nice mic layout diagrams, insights into mic and instrument placement, and mixing too.
http://www.prosoundweb.com/article/prin ... er_and_son
http://www.prosoundweb.com/article/prin ... er_and_son
- Gregg Juke
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Nice one, Dr. R. ... Thanks!
GJ
GJ
Gregg Juke
Nocturnal Productions Music Group
Drum! Magazine Contributor
http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
Nocturnal Productions Music Group
Drum! Magazine Contributor
http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
- frans_13
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A few years ago I dug up a set of the old BBC staff training manuals from the early 60s. As you can imagine, they are quite rare today. But they are full of all infos and procedure of how they recorded back then, orchestras, jazz... I think rockn'roll wasn't mentioned, but you still get all the details.
Having one or two recording tracks (often two mono decks ) doesn't imply recording everything with one or two mics. That's was my first idea of how 50's records were done but I've found that wasn't necessarily true.
I.e. Apparently Sam Phillips mixer had 6 mic inputs and he used at least 5 mics at once.
http://scottymoore.net/studio_sun.html
You might want to check this article for the early 60s techniques (overdubbing, "master bus" eq!):
http://www.prosoundweb.com/article/insi ... ck_nelson/
you can check the work of Mark Neill and Liam Watson. I think they are quite influenced by 50's and 60's techniques.
I.e. Apparently Sam Phillips mixer had 6 mic inputs and he used at least 5 mics at once.
http://scottymoore.net/studio_sun.html
You might want to check this article for the early 60s techniques (overdubbing, "master bus" eq!):
http://www.prosoundweb.com/article/insi ... ck_nelson/
you can check the work of Mark Neill and Liam Watson. I think they are quite influenced by 50's and 60's techniques.
Max RB
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