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Spectropop V#0413

  • From: The Spectropop Group
  • Date: 04/29/00

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       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
    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:
    --------------------[ 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
    --------------------[ 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 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
    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
    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@
    --------------------[ 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." 
    "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 
    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." 
    "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 
    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
    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
    --------------------[ 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@
    (Washington St - Hoboken, NJ)
    John Rausch
    Presenting The Fabulous Ronettes @
    --------------------[ archived by Spectropop ]--------------------

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