Taterbug illuminatio mea (to crib the motto of a small university in the UK)...
The Taubster On May 21, 2:26 pm, oskar nyman <[email protected]> wrote: > Thanks a bunch for that information Mr. Compton! Very interesting to read, > yes indeed. > The TBone way to record is definitely the way that seems most appealing to me > too. > Cheers > // Oskar of Sweden > > > > > > > Date: Fri, 21 May 2010 05:59:30 -0700 > > Subject: Re: Recording 101.T Bone > > From: [email protected] > > To: [email protected] > > > All the stuff I've done that involved TBone at the helm was cut live. > > None of it has been the "some assembly required" method. We usually > > use the larger room at Sound Emporium and set up in the middle of the > > room, usually in a semi-circle with the headliner in the middle facing > > the rest. It was done that way on the Ralph record, Elvis and Willie. > > The only thing that was put in a seperate booth were the drums on > > Elvis' recording. Same setup for the "Cold Mountain" cuts. The "Oh > > Brother..." cuts were a mixture of mic setups. Sometime we stood in a > > line with three overhead mics recording the room ambience, plus a few > > mics across the front. Sometimes we sat in chairs with mics and music > > stands in front of us. Usually, the mics are of the tube/ribbon/ > > antique/very collectable and expensive variety, but not always. Now > > and again, we'd find ourselves listening back to an informal take that > > came off a mic placed on a coffee table in the back of the room. > > Nothing goes unnoticed by TBone. He seems to be just hanging out a lot > > of the time, but he's always watching what's happening, always looking > > for a magical moment taking place and snagging it without the > > interference of formality. > > > One thing that I've noticed, and really have been the most impressed > > by, is that the TBone/Elvis/Willie sessions focused around the energy > > of the takes, not whether they were free of mistakes or not. The cuts > > chosen were the ones with the most life, had the best vibe, and the > > mistakes overlooked. I've become accustomed over the years to the > > practice of laying down flawless track after track (well, not me > > personally...) and making the finished product a pristine example. But > > a lot of life is sucked out while everyone is trying to be careful. > > The TBone way, perfection is sacrificed for energy and impact. Most of > > the music I listen to is old and flawed, so I'm not opposed to a flat > > note or a foot stomp here and there. It brings the human element back > > to the table. > > > All the cuts done with Hartford were the same way using the 'live to > > tape' method, John sitting in a prominent spot orchestrating the play. > > "Stomp" was cut a bit diffferent. David and I had our own booths to > > sit in across the room from each other, but not out of sight of one > > another. > > > Yea, Willie's guitar has seen more pristine days, but he still plays > > the living crap out of it, not to mention singing his ass off. There > > was no question who was in charge. None. > > > Bugs > > > On May 19, 11:10 pm, mgromkey <[email protected]> wrote: > > > I've been listening, from a recording perspective, to some especially > > > well-produced cds. This brought me back around "Sacred, Profane," > > > which I was listening to a lot last year this time. > > > > T Bone did an excellent job producing. Clean and tidy. Everything sits > > > perfectly in the spare mix. M.C.'s rhythm mandolin is always a little > > > to the left, Jerry's dobro hard right, Stuart Duncan's fiddle hard > > > left. Bass in the middle. On many of the tunes the guitar is barely > > > there. > > > > I asked Mike what it was like to record this once, and he said > > > something like, "T Bone had mics all over the place, and you didn't > > > know what was turned on." I might have that wrong. It was a casual > > > remark. But I'd like to hear more about how this album was recorded in > > > the course of a couple short days. > > > > Which studio did you use at Sound Emporium? Were the recordings > > > "live"? Did Elvis sing his parts while you played, or did they go down > > > later? Was he in the room, or off in a booth? > > > > How'd the studio experience differ from making "Stomp"? From recording > > > with John Hartford? > > > > -- > > > You received this message because you are subscribed to the Google Groups > > > "Taterbugmando" group. > > > To post to this group, send email to [email protected]. > > > To unsubscribe from this group, send email to > > > [email protected]. > > > For more options, visit this group > > > athttp://groups.google.com/group/taterbugmando?hl=en. > > > -- > > You received this message because you are subscribed to the Google Groups > > "Taterbugmando" group. > > To post to this group, send email to [email protected]. > > To unsubscribe from this group, send email to > > [email protected]. > > For more options, visit this group > > athttp://groups.google.com/group/taterbugmando?hl=en. > > _________________________________________________________________ > Your E-mail and More On-the-Go. Get Windows Live Hotmail > Free.https://signup.live.com/signup.aspx?id=60969 > > -- > You received this message because you are subscribed to the Google Groups > "Taterbugmando" group. > To post to this group, send email to [email protected]. > To unsubscribe from this group, send email to > [email protected]. > For more options, visit this group > athttp://groups.google.com/group/taterbugmando?hl=en.- Hide quoted text - > > - Show quoted text - -- You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected]. To unsubscribe from this group, send email to [email protected]. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
