Here’s a video about the enigmatic and legendary producer/engineer Joe Meek. As you see in the video, Meek was an innovator of so many recording techniques that we take for granted. The video is a promotion for a book with the same title, JOE MEEK’S BOLD TECHNIQUES, 2nd EDITION
By Barry Cleveland. The book sounds fascinating and definitely worth a read.
I hope everyone’s summer is going well. Summer is the season of light blog posting. With that in mind, I thought I would post something a little different. Here is a video I found via the website, Dangerous Minds. It’s a “Death Metal” Version of the classic song from the movie, “Grease.”
I am not sure why this amuses me so much – but here you go:
Drum recording can be complex. There are many different philosophies about recording a drum kit. I am a believer of the “simplicity is best” school of thought. After all, most of my all-time favorite recordings were done with very minimalistic drum mic set ups. When I record drums at Tangled Wire Studio, I end up using anywhere from one to three microphones, with a room mic added for an extra sparkle. Because my room is small and the style of music I record is suited for a minimalist setup, I am content.
One of the most famous drum mic techniques is the Glyn Johns, 3 mic technique. Here’s a video with the man himself explaining how it works:
Here’s another interesting video with legendary recordist Bob Clearmountain using a 4 microphone technique. (The Glyn Johns method, plus an extra mic for the snare.
Here’s a clip by of what I consider rock’s greatest rhythm section, The Who. This song demonstrates the prowess of these fine musicians just prior to their prolific record releases of Who’s Next andQuadriophia.
I stumbled across an excellent collection on Youtube Channel called FolkSeattle, which has several excellent old black and white footage of legendary blues player. Here are the videos of one of my favorite duos – Sonny Terry and Brownie McGhee. In our days of modern technology and studio gadgets and trickery, it’s refreshing to see the power of 2 men, one acoustic guitar and harmonica. Enjoy!
Tape Op Magazine recently added their extensive 2004 interview with Rudy Van Gelder to their web archives. I highly recommend this interview for recording enthusiasts. Mr. Van Gelder was the man who recorded so many of the greatest jazz records of all time, including John Coltrane and his classic quartet recordings for Impulse Records.
Introduction to the Tape Op Interview:
Rudy Van Gelder’s legend looms large, yet he has avoided most interviews throughout his 50-plus years in the recording biz. He has never discussed his techniques, and even in the following interview he didn’t divulge details. Van Gelder is best known for the LPs he recorded in the ’50s and ’60s for the Blue Note and Prestige jazz labels. In his youth he built a recording studio in his parent’s house where he recorded Miles Davis and many others. Having outgrown the first home studio, he built his own recording studio/complex/home in Englewood Cliffs, New Jersey, which remains. The scope of Van Gelder’s work is unknown, but it’s a foundation for the maps, legends and history of the music of John Coltrane, Dizzy Gillespie, Herbie Hancock, Wayne Shorter and others. Van Gelder’s work is both intimate and mind blowing, and he might be the greatest recording engineer in jazz history.
We lost another great. I had the pleasure of seeing Mr. Cocker back in the late 1980’s. For this particular show, I was lucky enough to have a front row and center seat. All I can say is Mr. Cocker did not disappoint. In fact, I always put this show in my top five all-time concert going experiences. Rest in Peace, Joe!
Steve Albini recently gave the keynote address at Melbourne’s Face the Music Conference about the state of the music industry. Steve Albini, unlike many prognosticators who long for the old days of record company dominance, sings the praises of our modern internet model. Here’s an excerpt from his speech from The Guardian.
I work every day with music and with bands and I have for more than 30 years. I’ve made a couple thousand records for independent bands and rock stars, for big labels and small ones. I made a record two days ago and I’ll be making one on Monday when I get off the plane. So I believe this puts me in a pretty good position to evaluate the state of the music scene today, as it relates to how it used to be and how it has been.
We’re all here to talk about the state of the music scene and the health of the music community. I’ll start by saying that I’m both satisfied and optimistic about the state of the music scene. And I welcome the social and technological changes that have influenced it. I hope my remarks today will start a conversation and through that conversation we can invoke an appreciation of how resilient the music community is, how supportive it can be and how welcoming it should be.
It is definitely worth reading the speech in its entirety. Albini makes some valid points, most of which I agreee. (Except for his bashing of Prince!)