Discussion in 'Music Corner' started by Steve Hoffman, Nov 6, 2014.
A dinky room to go crazy in. Les Paul at home.
From left to right, John Stephenson (Mr. Slate), Bea Benaderet (Betty), Alan Reed (Fred), Mel Blanc (Barney), Jean Van der Pyl (Wilma) with engineer Paul Douglas at Hanna Barbera Studios, Hollywood, 1962. KU-3A microphones otherwise known as 1000-1. A unidirectional short ribbon. They are still used today by some voiceover guys for cartoons.
The Father Of Modern Recording, Bill Putnam, "Mr. 610" in his Universal Recording Studio, Chicago, 1955 with Capitol producer Lee Gillette, working on Nat King Cole's instrumental album.. Who needs more than eight mic pots anyway? If you can't get it done with eight, give the frig up.
George Massenburg, the modern master (and inventor of the parametric EQ, by the way)..
Anyone have any photos of Ron Malo? Not sure I've ever seen a photo of him. Pretty incredible stuff he recorded at Chess.
The famous Hellmuth Kolbe at his three channel Leonhard Electronics portable tube recording console, 1966. Electronic Music pioneer and great engineer. Second photo: Recording of third Symphony Sinfonia Espansiva by Danish composer Cark Nielsen (1865–1931), commemorating his 100. birthday, in Copenhagen in 1965. The tube mixing desk was the first designed and manufactured by Hans Leonhard, Zürich, Switzerland. It was purchased by Swiss studio owner Max Lussy and rented to Columbia for this occasion. From left to right are: Hans Leonhard, Leonard Bernstein, John McClure (Director of Columbia Masterworks and CBS chief recording engineer) and Hellmuth Kolbe. Photo courtesy Ursula Kolbe
"...The historical Universal Recording Studios, in Chicago, designed by the great Bill Putnam [46 East Walton Place]...The studio was moved to it's new location at 32 W Randolph St. Chicago, IL 60601 in 1989 when the Walton St. building was condemned..."
This is as close as anyone can get, sorry. See Stu back there? 1964.
The thing about CHESS is that the energy in that room was pretty amazing. Just check this pic out..
Those are great shots & I appreciate the pics, thanks!
That bottom one is fantastic--playing their hearts out in tribute to their heroes.
Cosmo's Factory. The home of CROWN tape machines.
What I wouldn't give to have been be a fly on the wall in that studio. I've got a copy of "I'm in the Mood" on LP and John Lee Hooker sounds as if he's in the room with you. The album cover says Bernie Clapper was "handling the control board" on the liner notes. Sure did a nice job on that track.
Paul Northfield......Rush including Moving Pictures, Queensryche including Empire, Dream Theater
Here's the letter to Don Law from Frank Driggs, with responses from Law:
According to that, supposedly Johnson said "There is a lady here. She wants fifty cents and I lacks a nickel", after being given 45 cents by Law for breakfast.
That letter also confirms the Dallas sessions were recorded "in a makeshift studio in our branch office" not in a hotel room as had long been the story.
Had it been? I thought that was established. It was the San Antonio sessions that were done in a hotel room.
You are probably right, maybe it was this letter that established that.
By the way, is this Phil McDonald?
I wish I had a T-shirt like that, or one with the Coxsone or Harry J. logo.
He spent so much time working at Sigma, he said, he returned home after a late session and found his clothes on the lawn. BTW, he hired Carla Bandini on his staff, one of the relatively few female engineers in the major studios. Also, h/t to Ellen Fitton, who has been doing some A-list remastering at Universal's studio and tape vault.
Can anyone tell me what the cookie jars did? I see a NYT reference here to them being part of a 40's lathe he built, and is that not what he is working at in the photo?
Now there's a thread topic: the personal lives of sound engineers. So many of them practically live in the studio working that it's hard to imagine how some of them find time to even meet women, much less have families.
German Maestro ...... Conny Plank
Curt Boettcher on the right, at Columbia Studios around 1964 with Goldebriars producer Bobb Goldstein ......
You see the two lathes? I believe the thread was somehow sucked up during cutting. At least that's my guess. If you don't suck up the thread it goes all over the place (that's what she said).
Separate names with a comma.