История на звукозаписа (http://www.historyofrecording.com/)

[Parni_Valjak]

A little Sound City Studio Documentary. Neil Young, Nirvana, Kyuss, Metallica, Tom Petty

Get warmed up for Dave Grohl's Sound City Documentary by checking out the small film by Ronan Chris Murphy.  The third episode of Ronan's Recording Show is a tour of the amazing Sound City Studios is Van Nuys, CA.

Sound City, which is regularly used by producer Rick Rubin, has recorded everything from Neil Young "After the Gold Rush" to Nirvana "Nevermind. to Metallica "Death Magnetic" in addition to albums by Tom Petty, Ratt, Red Hot Chili Peppers, Slipknot, Slayer, Nine Inch Nails, Dixie Chicks, etc, and of course the mighty Kyuss album "Welcome to Sky Valley".

The video and sound is a little dodgy on the episode, but the amazing vintage gear including the wolds longest Neve console install (hand built and wired by Rupert Neve), and racks of classic LA2A, 1176 and Pultec gear. 

Ronan's Recording Show is an internet based "TV Show" celebrating all things cool about recording, hosted by world renown producer-mixer, Ronan Chris Murphy (King Crimson, Ulver, Jamie Walters, Steve Morse, Tony Levin, Terry Bozzio, Nels Cline, Steve Steven, Pete Teo...)

 

[Telerig]

Странната джаджа със форма на звезда се нарича "акушерка". До колкото знам е българско изобретение, което служи за събиране на разсипана лента. Има няколко из студиата все още останали...за съжаление малко хора знаят как се използва включително и аз самият. За щастие само веднъж ми се е налагало да помагам на колеги да навием разсипана лента преди година-две и отне цял следобед.

 

 

 

Снимка от инсталирането на първият 32-канален студиен звукозаписен пулт Neve в първо студио на БНР през 1976-та:

 

 

Негов по-малък 16-канален събрат, който е бил във Второ Студио през същия период, снимката е след преместването му в зала "България" в началото на 80-те.  Човека на снимката е мой много добър приятел и колега Христофор Стоянов - преподавател в Музикалната академия.

 

 

И двата приличат доста по вид на конзолата в "Sound City" тъй като са с 1073 преампи,1081 EQ-та, 33609 компресори и 2254-лимитъри на мастер секцията.  Факт в който не съм сигурен, тъй като информацията ми е от форуми е, че до раждането на 8108 през 1979-та новите собственици Bonochord Group, ( компанията на която г-н Нйив продава Neve Electronics през 1975-та), продължават все още да произвеждат конзоли и периферия изцяло по проекти на г-н Нийв. След това вече следват други модели различни като характеристика и изпълнение, които заслужават внимание в друг пост.

[Parni_Valjak]

Revisiting the 8-Track Cartridge & Unboxing a BNIB 1975 Pioneer HR-99 Recorder

 

[Parni_Valjak]

Studio Profile: AIR Studios

 

 

22 July 2015: By Matthew Fellows

 

 

Fifty years ago, a production company was established that would reset the template for the recording business, as Jim Evans reports.

    In August 1965, four leading record producers made a move that was to change the way the music industry worked. Back then, records were still largely produced ‘in-house’ by the major record companies – in the UK it was EMI, Decca (which famously turned down The Beatles) and Pye. Independent recording studios were only just starting to emerge and producers were salaried employees of the labels who rarely got so much as a sniff of a royalty cheque.

    In that memorable month, Associated Independent Records (London) Limited, or AIR for short, was created by George Martin, Ron Richards and John Burgess from EMI, and Peter Sullivan of Decca. Between them, they were responsible for the success of EMI’s and Decca’s top acts, including The Beatles, Tom Jones, Cilla Black, The Hollies and Lulu. Through AIR, they continued to work with these acts – but now with the added benefit of royalty payments.

    There was no love lost following the four’s split with the record companies. In his autobiography, All You Need Is Ears, George Martin recalls: “Frustration has many fathers, but few children, among them bitterness, anger and resentment. Those had come to be the unhappy ingredients of my feelings towards EMI. By 1959, I had been running Parlophone for four years. My recordings with Peter Sellers, Milligan, Flanders and Swann and the others had started to make the label mean something. Originally a poor cousin, it had become a force to be reckoned with. But I was still only earning something like £2,700 a year.”

    Martin would later comment: “All in all, it is fair to say that relations between AIR and EMI have been less than cordial over the years since we first broke free from them. That is, despite the many successful records we have made for them since we went independent, including Sergeant Pepper’s Lonely Hearts Club Band.”

    Once free from the shackles of the majors, the newly-liberated producers based the nascent AIR in offices on Park Street in London’s West End and bought studio time for their artists in Abbey Road, Chappells, Decca and Morgan and a handful of other commercial studios operating in the capital at the time, such as Advision, Lansdowne and IBC. The plan was to eventually build their own studios and by 1967 the group had earned enough royalties from these new production deals to finance the venture. Eventually, premises were found in Oxford Street on the fourth floor of the Peter Robinson department store building, which included a large banqueting hall. 

    It would prove to be not the easiest of places to build a recording studio. Being in central London was about all it had going for it. But Martin and team had other ideas. Kenneth Shearer – whose credits include the Royal Albert Hall’s ‘flying saucers’ – was brought in to deal with the considerable acoustic problems. 

    Martin recalls: “The answer to the rumble up through the building from the Underground was drastic, and dramatic. The whole works – studios and control rooms – would be made completely independent of the main building. Essentially, a huge box was to be built inside the banqueting hall, and mounted on acoustic mounts.”

Up and running at last

    The studios opened for business in October 1970, and in true show business tradition, the occasion was marked by a two-day party during which 400 bottles of Bollinger champagne were consumed.

    Dave Harries, previously with Abbey Road and now consultant to Mark Knopfler’s British Grove Studios, was one of the first to leave EMI’s employment to join the new venture across town. He would go on to manage the Oxford Street studios for more than two decades. The original four producers were also joined by a host of other top producers and engineers, each bringing in their own work and signings that would add to the success of the studio. These included Chris Thomas, Keith Slaughter, Bill Price, Geoff Emerick, Jon Kelly and John Punter. 

    “It was one of the noisiest places you could choose to build a recording studio,” says Harries. “When Geoff [Emerick] first showed me the pictures at Abbey Road I said that simply can’t work. It will never work. But work it did! It became so successful that George and John who had built it primarily for themselves couldn’t get in there and had to go back to Abbey Road. We were certainly one of the pioneering independent studios – and among the first to go 16-track. When we opened, our studio rates were £35 per hour.”

Key to success

    So why did AIR Studios take off so spectacularly? “The main studio was actually quite large and had a quite live sound,” Harries continues. “The idea was originally that we would do film scoring in there, with the smaller No. 2 studio which had a much drier sounding aspect and was built for pop. They both had basically the same equipment in the control room.

Studio One of the Oxford Street site in 1975

    “As it turned out, the main room for a number of reasons, including its great drum sound, got booked out by bands. It just worked. Film people couldn’t get in. We had good equipment and good technicians. We were in the right place at the right time. George once again picked out the right thing. Throughout, he had the Midas touch with artists and with studios, as the hits kept coming on both sides of the Atlantic.

    “I recall one occasion when we had The Rolling Stones, Paul McCartney, Dire Straits and Slade booked into the four studios. I walked into reception to see McCartney, Mark Knopfler, Noddy Holder and Mick Jagger deep in conversation. Sadly, a camera wasn’t to hand. But then, we never really boasted about who was here, we just got on with the business of making good recordings.”

Among the sessions at AIR, Harries has fond memories of many – including a young Kate Bush recording what would become her debut album. “Jon Kelly was the engineer and Andrew Powell was the producer and arranger. They were in Studio 2 next to my office when I heard this wonderful sound. It was Kate doing the guide vocal forWuthering Heights. My hair stood on end. I said at the time it would be massive – and it was.

    “Over the years we changed with the times, upgraded the technology as fashion dictated. Despite being ‘lifelong’ Neve supporters, we went with the flow and bought SSL desks. We were at the forefront of digital too.” 

    That brings us nicely onto AIR Studios Montserrat, one of the pioneering ‘destination studios’ where Dire Straits digitally recorded Brothers In Arms, an album that ranks among the biggest sellers of all time and continues to sell steadily.

    “Once AIR Studios in London became a reality and gained a reputation – its reputation of being the finest recording complex in Europe – my thoughts turned to other ideas,” says Martin. He weighed up the pros and cons of building a studio on a ship – until he discovered Montserrat, a small unassuming island paradise in the Caribbean.

    In 1977, Sir George fell in love with Montserrat and decided to build the ultimate get-away-from-it-all studio. Opened in 1979, AIR Studios Montserrat offered all of the technical facilities of its London predecessor, but with the advantages of an exotic location.

    “Dire Straits recorded Brothers in Arms on the island and at The Power Station in New York and then finished the project in London,” recalls Harries. “That was really the first album where a lot of it was recorded digitally on a Sony 3324 machine.” 

Trouble in paradise

    Sadly, through the combined efforts of Hurricane Hugo and the local volcano, the studio was forced to cease operations some 10 years after opening.

    Back in London, 22 years after the opening of the Oxford Street studios, the lease on the Peter Robinson building expired and the next chapter of AIR’s colourful history began. The studios moved to its present location in the beautiful Lyndhurst Hall in Hampstead, North London.

    Heavily involved in the design and building of the new studio facility, Sir George Martin opened AIR Lyndhurst in December 1992 with a gala performance of Under Milk Wood in the presence of HRH The Prince of Wales.

    In February 2006, the Strongroom’s Richard Boote announced the purchase of Sir George Martin’s AIR Studios from Chrysalis Group and Pioneer. Since that date AIR Lyndhurst has continued to be one of Britain’s premier scoring facilities, attracting some of the world’s biggest movie scores, as well as maintaining its popularity with major classical labels, high-profile recording artists and incorporating TV post-production facilities.

http://www.airstudios.com

Редактирано Юли 23, 2015 от Parni_Valjak

[Parni_Valjak]

This is what $20k got you in 1952 - for Democratic & Republican National Conventions -

Jensen G610s, custom Conn horns.

 

Редактирано Юли 24, 2015 от Parni_Valjak

[Parni_Valjak]

Composer Sir Edward Elgar recording 1914

 

Редактирано Юли 24, 2015 от Parni_Valjak

[Parni_Valjak]

Pete Townshend Records Direct To Vinyl

 

 

    Nashville, TN (June 9, 2015)—Welcome to 1979, a retro-oriented studio in Nashville, recently hosted musician and philanthropist Pete Townshend of The Who for a three-day weekend before The Who Hits 50 Tour rolled into Music City. While there, he recorded directly to a vinyl master to create a unique, one-off record to be auctioned for charity.

    Pete’s sessions were recorded two ways—one with a custom MCI 2 8 track (refurbished by 79’s sister company, Mara Machines), and then directly to the studio’s vinyl lathe. During a special benefit concert in Chicago on May 14th, Pete revealed a one-of-a-kind record that he recorded during his sessions at Welcome To 1979—an exclusive version of “I’m One” from Quadrophenia.

    In 2012, Townshend and bandmate Roger Daltrey founded Teen Cancer America— a charity aimed at youth-oriented treatment and rehabilitation centers for teenagers and young adults. The 12-inch single Pete recorded at Welcome to 1979 was one of two featured items being auctioned off to benefit the non-profit organization. 
 

    For a $25 dollar donation, individuals were entered into a drawing for the chance to win the exclusive single. The weeklong auction produced $37,000—all of which benefits Teen Cancer America.

 

[Parni_Valjak]

[Parni_Valjak]

Columbia's first Double Sided Disc Demonstration Record - 1908

 

Offered at a price of 25 cents in 1908, here is the explanation side of Columbia's first sample Double Sided disc Demonstration Record. On the opposite side is the selection Goodnight Little Girl Good Night sung by Henry Burr. About two years later Columbia came out with a more detailed Double sided Sample record, the explanation side being narrated by Frank Stanley.

 

[Parni_Valjak]

Studer A820 master recorder editing capabilities - 1/2" tape

 

A short demonstration of editing capabilities of a Studer A820 with 1/2" tape.

 

 

 

[Parni_Valjak]

Studer A80 playing dutch song

 

Studer A80 tapemachine playing a dutch song.

 

Audio will fade to real tape-output after 40 seconds.
No eq or processing is applied to output.
The Machine and played tape are almost 40 years old.

What you see and hear is the original master
tape of this track sung by 'De Zangeres Zonder Naam'
a famous singer in The Netherlands in the previous century.
She unfortunately passed away

 

[Parni_Valjak]

Последният модел на

Ferrograph

Studio 8

В 1976 беше представен от Denis Tayler на пловдивския панаир. 

 

 

[Parni_Valjak]

Studer C37 valve tape machine

 

Алексей Деменко -

- Это центр управленя полётом на марс?

 

[Parni_Valjak]

How to cut an analog reel-to-reel tape

on

 

STUDER A816 MASTER RECORDER

 

(A $tuder is the coolest.)

 

Само швейцарци могат да направят такава ножичка !!!

 

Редактирано Август 19, 2015 от Parni_Valjak

[Parni_Valjak]

If the song isn't great on a 2 track cassette -

it's still not going to be great on whatever !