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Post by scumbum on Mar 23, 2017 19:06:27 GMT -6
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Post by nobtwiddler on Mar 24, 2017 15:05:33 GMT -6
Amazing history right there.
That setup has captured some of the GREATEST, most RESPECTED, popular ROCK records of all time.
And for me personally, those years were the era that defined Rock and Roll as we know it!
When looking at the inside of that Mobile, it's amazing that they got anything done!
But it was because of the RSM, The Manor Mobile, The Ronnie Lane Mobile, and a few others, that I decided to build my remote recording rig around Helios modules!
They really do sound great!
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Post by scumbum on Mar 24, 2017 23:18:34 GMT -6
Amazing history right there. That setup has captured some of the GREATEST, most RESPECTED, popular ROCK records of all time. And for me personally, those years were the era that defined Rock and Roll as we know it! When looking at the inside of that Mobile, it's amazing that they got anything done! But it was because of the RSM, The Manor Mobile, The Ronnie Lane Mobile, and a few others, that I decided to build my remote recording rig around Helios modules! They really do sound great! Thats awesome man ! I love that mobile setup you made and the philosophy behind it . I ran across a post of yours on Gearslutz today with pictures showing your moblie setup and some drums miced up . It was 3 mics , a coles 4038 behind the drummers right shoulder , a coles 4038 on kick , and a mic under the snare . It was summed to Mono on one track . You still using that mic setup ? What are your thoughts on Mono vs Stereo Overheads . Whats really cool is they say the Stones Mobile Recording Truck is open for the public to book time and record there . It would be amazing to record something there , mix something , or just book it for a few hours , bring some beers and just listen to music that was made through those monitors (hopefully still orginal monitors) and hear what they heard back in the day when making those songs . Think about it , drums for "when the levee breaks" were first heard in that truck . Andy Johns listen to the playback of the drums and thought "Bonzo is gonna love this" ....Andy then took Bozon out there and Bonzo did indeed love the drum sound . That was the first time I believe he was happy with his drum sound . The Who - Won't Get Fooled Again , was recorded at Mick Jagger's house with the truck . Glyn Johns says it was an amazing moment hearing that song all tracked live in I think it was the first take , sitting in the truck . Vocals were live . Glyn couldn't believe Keith Moon pulled it off so well playing along with the synthesized organ track . Heres a quote about the truck , "The job of restoring a piece of rock n' roll history is painstaking. Leimseider has been at it for about a year and a half. "A lot of it has been just you know, grunt work. You sit there and you plug into every input and check every output from every channel," he said. "We're not trying to make it a modern studio. We want to keep it as intact as possible. It's a very conservative restoration. But we also want it to work really well and as reliably as possible." The NMC wants artists to be able to use the recording truck, which includes a Helios console and a 24-track two-inch tape recorder. "This sort of forces you into a different way of recording and I think the bands that do that are going to gain something out of it they can't get any other way," said Leimseider. The truck will be installed next to the restored King Edward Hotel. Musicians will able to record with the historic studio live off the floor of one of Calgary's legendary venues. "There is something to be said for recording in a sacred space," said Mosker. Heres the place but I don't see it listed under their rentals page , studiobell.ca/rentals/ |
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Post by EmRR on Mar 25, 2017 7:58:20 GMT -6
Glad it's up and running. Does anyone remember who was trying to restore it in the late 90's? I feel like it was in Alabama for awhile. Many brain cells ago.....
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Post by johneppstein on Mar 25, 2017 16:36:06 GMT -6
Kind of a fluff piece for the fans - no real interesting information here, just well known fan stuff. And I kind of object to them calling receording engineers "audiophiles" - audiophiles are generally end users of music. Console reminds me of the one we made my first real record on. Dan Alexander's first studio ("Tewkesberry Sound Recording") with a young John Cuniberti engineering... band was Fast Floyd and the Firebirds, I played bass and "co-produced"... Record came out much better than it had any real right to, which is not saying anything..... |
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Post by rocinante on Mar 25, 2017 19:08:38 GMT -6
Awesome.
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Post by nobtwiddler on Mar 26, 2017 10:59:13 GMT -6
Here's another vid, showing the inside.
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Post by Bob Olhsson on Mar 26, 2017 14:36:23 GMT -6
I met the tech who took care of it during it's heyday. (In England Motown was viewed like the Beatles were here so I've met a lot of these folks.) I had used a Helios input module a lot in the mid'70s and was very interested in knowing more about the console. My jaw dropped when he told me that it was very noisy to mix on and not very reliable. Certainly that module sounded wonderful but it turns out there was a catch.
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Post by jcoutu1 on Mar 27, 2017 12:30:24 GMT -6
Kind of a fluff piece for the fans - no real interesting information here, just well known fan stuff. And I kind of object to them calling receording engineers "audiophiles" - audiophiles are generally end users of music. Console reminds me of the one we made my first real record on. Dan Alexander's first studio ("Tewkesberry Sound Recording") with a young John Cuniberti engineering... band was Fast Floyd and the Firebirds, I played bass and "co-produced"... Record came out much better than it had any real right to, which is not saying anything..... This? www.discogs.com/Fast-Floyd-the-Famous-Firebirds-Devils-Daughter/release/2470449 |
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Post by Ward on Mar 27, 2017 12:39:21 GMT -6
Kind of a fluff piece for the fans - no real interesting information here, just well known fan stuff. And I kind of object to them calling receording engineers "audiophiles" - audiophiles are generally end users of music. Console reminds me of the one we made my first real record on. Dan Alexander's first studio ("Tewkesberry Sound Recording") with a young John Cuniberti engineering... band was Fast Floyd and the Firebirds, I played bass and "co-produced"... Record came out much better than it had any real right to, which is not saying anything..... This? www.discogs.com/Fast-Floyd-the-Famous-Firebirds-Devils-Daughter/release/2470449Did you go under a pseudonym johneppstein or are the credits incorrect? I can't even begin to tell you how many missing credits or incorrect ones I have at Dioscogs. And quite frankly, I couldn't be bothered spending time chasing them down. People who need me, find me, and do so often enough. |
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Post by Bob Olhsson on Mar 27, 2017 13:41:11 GMT -6
The waves Kramer HLS Channel was modeled from a channel in that console.
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Post by swurveman on Mar 27, 2017 18:32:35 GMT -6
When I see that small, dry control room I wonder if in the dead isolation of that space that they were forced in a good way to improve the albums they recorded by not having anything but real ambience to give those songs space.
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Post by johneppstein on Mar 28, 2017 4:04:22 GMT -6
Did you go under a pseudonym johneppstein or are the credits incorrect? I can't even begin to tell you how many missing credits or incorrect ones I have at Dioscogs. And quite frankly, I couldn't be bothered spending time chasing them down. People who need me, find me, and do so often enough. I've had a couple of stage names, however that's Floyd's second record, the one I did was the first, and I never got my co-production credit because Floyd was squirrly as the rodent barn at the state zoo. My stage name with that band was T.B. Slick and the record was a 4 song EP on "Cadillac records" (which I don't think Floyd ever registered) that featured a cover picture of a fetishy looking woman in bondage on a giant spike heeled shoe. Ther covers were printed black and white and hand colored (no two the same) by the band at a glue and cover party around my kitchen table. The record is incredibly rare, only a couple hundred were pressed. I have a friend who used to run a small local label who says he knows where there's a copy he'll get for me - I haven't seen one in years. A few years ago I reconnected with our old lead singer ("Silke" of various last names) and she gave me MP3s of a couple of the songs. My production credit would have been for organizing the session, which was done on time I earned by helping Dan build the studio, and for arrangement work on some of the songs. FWIW, my current stage name is Johnny Oklahoma - I'm doing country these days and "Eppstein" isn't exactly my idea of a good country name and Kinky Friedman already has the "country Jew-boy" thing locked up. I don't think that I have a Discogs credit for my album under that name, either. |
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Post by Deleted on Mar 28, 2017 4:48:53 GMT -6
One Last Train Song - good stuff
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Post by Deleted on Mar 28, 2017 4:55:04 GMT -6
In England Motown was viewed like the Beatles were here History books show that Motown and the Blues were huge here .... So did they park this truck alongside a venue, or did bands cram in the front section? |
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Post by jontheriffer on Mar 28, 2017 8:00:11 GMT -6
Inr]So did they park this truck alongside a venue, or did bands cram in the front section? Probably snaked into whatever venue. I headlined a show called "Pogorama" in Windsor, Ontario back in '81? That's what the mobile recording truck was going to do, but the promoter had a nervous breakdown putting the event on and his wife sent them away even though they were already paid. |
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Post by johneppstein on Mar 28, 2017 15:12:19 GMT -6
One Last Train Song - good stuff Thanks! That was actually done as a throwaway for a free compilation album for an event we played - it's not on the actual album, |
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