http://www.spectropop.com __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0413 April 30, 2000 __________________________________________________________ "Wide Dynamic Range" Subject: compression and such Received: 04/29/00 2:55 am From: Glenn Sadin To: Spectropop! >Compression effects are nice little stomp boxes nowadays... >but what did compression units look like in the early >sixties? I imagine four engineers (headed by Professor >Frink, of course) in white lab coats, trying to handle a >huuuuuge black compression monster...also, what did reverb >and delay/echo units look like, before they became stomp >boxes? Can somebody also explain the tech stuff about echo >chambers? Carol Kaye probably knows better than any of us, but I would imagine that the compressors used in most studios in the early-mid '60s were tube units with big black knobs, and rack mounted. Reverb was probably done with a spring unit similar to the kind found in guitar amps. Delay was probably created using either an echo chamber (a speaker placed in an empty, cavernous room with a mic positioned to pick up the slapback in the room and then fed back into the studio board). Lee Hazlewood used unused underground storage tanks for his echo chamber! The other method is using tape delay. A continuous loop tape is run on a machine with the record heads and playback heads both simultaneously in use, and the distance between the record head and playback would determine the length of the delay. Usually these devices would have a control that would allow you to adjust the distance of the heads (i.e.: the length of the delay). This is the theory behind the Echoplex machine (which used tape cartridges instead of open reel tape), popular with guitarists in the pre-digital days. Glenn Sadin Read about JAPANESE POP MUSIC from the 1950s thru the 1990s: http://home.earthlink.net/~glenn_mariko/nihon.htm --------------------[ archived by Spectropop ]-------------------- Subject: Gold Star Received: 04/29/00 2:55 am From: Phil Chapman To: Spectropop! Viceroy wrote: > Compression effects are nice little stomp boxes nowadays... > but what did compression units look like in the early > sixties? Cutting lathe compression is special in that that there is an advance head that tells the compressor what's coming, so transients don't create the 'grabbing' problems they do with realtime compression. That's also the advantage of post-processing sound files. >Can somebody also explain the tech stuff about >echo chambers? Well it's basically a stone, tiled, or similar hard-surfaced room with no parallel faces. Put a speaker at one end and a mic at the other. Attempts were made during the 70s to build exact replicas of Gold Star's chamber, but they didn't sound the same. I was disappointed that Gold Star couldn't be preserved. Although Phil worked at other studios, the Gold Star echo was something special. Same goes for the recording console - Recordings at MiraSound (eg. The Raindrops, The Shangri-Las) had an uncontrollable top end that often made the final mix sound harsh. It's noticeable that the Crystals cuts at Gold Star are much more full than those at MiraSound. I can only imagine how even more powerful The Crystals' "I Wonder" (one of my favourite Spector girl cuts) would have been if recorded and mixed at Gold Star. Phil --------------------[ archived by Spectropop ]-------------------- Subject: Darlene, etc. Received: 04/29/00 2:55 am From: Carol Kaye To: Spectropop! >>>>>>>>I don't know who "we all" is supposed to mean, but it's >interesting that Darlene, who rattles off Billboard chart >numbers as if telling the writer the age of her children, >takes it upon herself to speak for "everyone". This just >does not sound like Darlene Wright talking. Maybe Landy wrote her book too? :-)<<<<<<<<<<< I've researched 19 books written by various authors about various artists, edited by various people, published by various book companies, and noticed that those so-called "hot" books were not that popular either (checked out of that popular library maybe once in 2 years), and they ALL could have been written by the same author.....it was always the same trashy crap, with lots of "drug-use, sex, cheating they-done-me-wrong, or I-done-myself-wrong" titillation in them. Since I knew many of the artists very well (Glen Campbell, Sonny & Cher, Brian Wilson etc.) especially spending years in the studios with them, these books not only disgusted me but did teach me one thing: THEY ALL LIE. I've been approached by so many to have a movie made on my life, people to publish my book (in the works), etc. and found out that you can go ahead and write the "truth" but ALWAYS, the publisher will ALWAYS have an editor rewrite many of your own writings, totally (and maybe secretively too) against your wishes most of the time. Earl Palmer for example, tried to have some of that bad language deleted from his book was told many times (after Russ Wapensky, and Bill Hues worked hard to edit it out and send in the deletions) that it was "deleted" or fixed, only to have it printed in full-force in his book which came out last year -- without him even knowing it, or when it was due out. The bad language imo hurt it somewhat....he is NOT like that most of the time -- he sometimes used bad language as a matter of talking like most musicians did back then, but Earl is a self-made man, a very gracious man and they denied him this by leaving that foul language in while saying "yes, the deletions sent in will be used" - they weren't. I know another one who had an editor who followed *exactly* what the publisher wanted, not what the author wanted who later on found out about some things that got in, only to kind of "go along with it", just happy that his book was published. So for those of you out there who like to believe those books verbatim, think again, you have to read them ALL with a grain of salt -- do not totally believe everything you read in them, they love to lie for the sake of selling the book (they think they have to lie as that's what the public wants). That is truth you CAN believe. BTW, Spector's River Deep Mountain High was widely played on the radio in the USA when it came out in the 60s, you heard it all the time then in the LA too -- once in awhile I tune to an oldies station even now and they're still playing it and I still think it sounds good. A very exciting record. Carol Kaye http://www.carolkaye.com/ PS. Had a big thrill lately, Sting had called me on the phone, wonderful man, truly sincere in his environmental efforts. He had learned to play bass from my tutor books he said. He's really on a roll, a long large tour this year. And.....our "Thumbs Up" CD is on all the jazz stations in the USA, doing well. --------------------[ archived by Spectropop ]-------------------- Subject: girl pop Received: 04/29/00 2:55 am From: john rausch To: Spectropop! Hi Billy Here`s some info on the Castanets 45 from the booklet of the Touch The Wall Of Sound Vol 1. Released on the TCF (20th Century Fox) label. Written by J Simmons. Arranged & conducted by Morty Craft. Hope any of that helps. Also, I have the stereo mix of Kiss Me Sailor from an import cd Best of Diane Renay on Marginal. I also have an import cd of Tracey Dey with I Won`t Tell, along with 12 other selections: Whos That Hangin On To My Baby Go Away Gonna Get Along Without You Now Teenage Cleopatra Blue Turns To Gray Didn` Ya Any Kind Of Love Ska Doo De Yah Jerry I`m Your Sherry Jealous Eyes Once In A Blue Blue Moon John Rausch Presenting The Fabulous Ronettes@ http://www.geocities.com/SunsetStrip/Studio/2469/ --------------------[ archived by Spectropop ]-------------------- Subject: stereo version of "Kiss Me Sailor" Received: 04/29/00 2:55 am From: WASE RADIO To: Spectropop! To Billy G. Spradlin: The stereo version of "Kiss Me Sailor" was on the original 20th Century Fox album. I had a cassette tape that a friend of mine made for me years ago. However "Navy Blue" appears in mono on the same album. Michael G. Marvin WASE radio --------------------[ archived by Spectropop ]-------------------- Subject: The Bonnets Received: 04/29/00 2:55 am From: Kingsley To: Spectropop! The Bonnets "Ya Gotta take A Chance" was actually issued in England in 1992 on a compilation called "Ultimate Girl Groups" Goldmine GSLP6. This was the only real Spector sounding track on it, the majority being more souly based. Included were The Sherrys, The Gems, The Delicates, The Du-ettes, The Dolls, Lorraine & The Delights, Diane Renay and some other soloists. It was initially a 16 track vinyl album, but then re-appeared as a CD with, I believe, some extra tracks. As far as I know It's long deleted, but there may be some copies around. Next time I speak to Goldmine (English Record Company not the mag) people I'll enquire. It is indeed a fine track! Kingsley Abbott --------------------[ archived by Spectropop ]-------------------- Subject: Quotes from LA Times, Earl Palmer article Received: 04/30/00 6:21 pm From: Carol Kaye To: Spectropop! Latest LA Times article on Earl Palmer, he tells it like it is -- I'll just quote some of the things he says here - it starts off with Earl describing his youth as a tap-dancer on the stage with his mother and how the dance rhythms and fine jazz (he was a jazz drummer first before ever recording) influenced his drumming: LA Times: "The melting pot that is New Orleans contributed to the flexibility that over the years has enabled Palmer to shift from sessions with Pat Boone and Professor Longhair in the '50s to Sam Cooke, Phil Spector and the Monkees in the '60s to Tom Waits in the '70s and Elvis Costello in the '80s. "People living in New Orleans just like music, period," Palmer said. "They like something they can shake their fannies to and pat their feet to. New Orleans people have their own music that has tinges of this and tinges of that in it. "So what we were playing on those early records was funky in relation to jazz," he said. "What we were playing already had that natural New Orleans flavor about the music. I played the bass drum how they played bass drum in funeral parade bands. I had to do something to make it funky." and: "Making it up as they went was one of the defining concepts of rock 'n' roll. "This kind of music is almost totally creative," Palmer said. "We had no [written] music for those things--the music was learned and it was up to the musicians to add to it. A lot of it came from the musicians." Because of the spontaneous, improvisatory nature of rock music, many onlookers assumed the musicians were untrained. And while many star performers could neither read nor write music, the same wasn't necessarily true of the players working with them. "I went to music school on the GI bill," Palmer said. "I minored in drums and that's where I learned how to read music. I took theory and harmony, and actually was a piano major, though I never really played it much. I studied arranging and composition." and: "I knew I was never going to be a Buddy Rich--a great soloist. That's why I went to music school. I wanted to learn about arranging," he said. "I came to work [in Los Angeles] for Latin Records to do arranging and producing. What stood me in good stead was being able to come and work as a producer and arranger." With his reputation preceding him as a drummer on those early rock hits out of New Orleans, he quickly found as much demand for his instrumental services in L.A. as back home. Palmer said he came to appreciate a camaraderie among West Coast studio players. "When some of those guys would come out from New York, they brought that New York animosity with them," he said. "But we were always helpful to people doing those sessions. That was some of the most fun: playing with guys who, if you were a little better than some, you never felt that you were so much better than anybody. It was always refreshing to go to work." That, he said, made it easier to bring freshness to whatever he was called upon to play--whether a wall-of-sound pop session with legendary producer Spector or the theme to a TV show or movie--no matter how many times he might have to play the same piece. "They don't want you saying 'I'm tired.' You have to bring yourself up every time, and lock into a way to do it every time with something interesting, yet without totally changing it," said Palmer, who still plays club dates as often as he can. "You always want it to sound like it's the first time the musicians have heard the music, that it has all the fire of playing it the first time." The great Earl Palmer says it all so well! He was wonderful to work with and record with. See his pictures on my website. As for his comment about NYer's, well most of them were wonderful, but you had a couple maybe who didn't fit in with the friendliness - it was a strick regimen but still with a family-type-feeling amongst us who were all raising our children then, and we were concerned about each others' kids too.. When you're exhausted (hence all the coffee we drank to stay awake and alert w/good concentration-energy for the powerful playing and the creative lines we'd invent....the ones in the 70s didn't do their recordings like we did and you started seeing drugs in the studios then too, different from the fast-efficient-4 tunes a 3-hour session thing in the clean 60s). Sometimes the humor got a little "edgey" from tiredness too but everyone knew you didn't mean anything by it... next day was totally re-newed. Earl Palmer was the one who brought that double-time swamp beat drum-feel to LA, he started that here, then Hal Blaine, Sharkey Hall, even Shelly Manne copied that new style Earl brought here and would use on those simple (but boring) pop-rock dates... got us all to doubling up (I was a guitar player then) on rhythms, was very innovative. Hal got the multi-tom-tom surf-rock fills started, another top innovation which then Earl and others had to copy........ Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: Ronnie Spector Received: 04/30/00 6:21 pm From: john rausch To: Spectropop! There is to be a free concert with Ronnie Spector@ HOBOKEN ARTS FESTIVAL (Washington St - Hoboken, NJ) SUNDAY, MAY 7 John Rausch Presenting The Fabulous Ronettes @ http://www.geocities.com/SunsetStrip/Studio/2469/ --------------------[ archived by Spectropop ]-------------------- End
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