I am really interested in knowing what
- kind of desks were used during recording and did
- Rothchild/Botnick also mix the LPs on same desk?
- Also brand of studio equipment used, ie compressor/limiter.
Doors studio equipment!
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Hamlet
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Doors studio equipment!
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studio equipment
I am not certain of your reference to a "Desk". Based on your second question I assume that you mean Mixing Board or Recording Console. (Which became a mixing board when the laster tracks were made.
We recorded in several different studios. Each of these had different equipmetn. All of which, in those days, ws analoge. The volume was controlled by slide pots (Potentiometers) and the tone curve was controlled by active filters that contoured the bass, mid range and treble sections of the sound spectrum from abut 30 to 10,000 cycles.
Who made them - Who knows. The boards were custom buit of modules to the size you wanted. the installation took months of wiring between the board, an extensive patch bay (Like a pnhone operators console) and all the equipment that was connected to or associated with the control room. Speakers were usually Altec Lansing and eventually Bose. We had compressors, suppressors, Dolby units, monitors and all the equipment related thereto.
Studio equipment is all the same. It is only the diference in technology that has changed. Now everything is direct digital, the boards are still comewhat custom made but that is to stroke ego's. Kids can buy better boards off the shelf in a music store than were the best of the best in 1970. Pay a lot less as well.
Since it cost a great deal of money to install or redo a studio, those that existed tended to remain in existance fro a long time. The Engineer, like Bruce Botnik, became experts at getting all they could out of the older boards. But no matter what, they still all come down to the same thing - Volume and tone controls.
As for the Mixing - LP records were not made from a board. They are made from a "Master" - essentially a mold that has been cut on a special machine - in those days a Scully lathe.
The mixing process is about the same as the recording.
Int he recording mikes bring the sound to the board and they are recoded at appropriate level but use compressors to prevent overloading and clipping. This was recorded with very little modification directly onto a 8 16 or 32 track 3M recorder (in those days). Usually on BASF tape either 1" or 2" wide.
In mixing for the master, the mikes were replaced by the inputs from the various tracks of the recording machine. At this stage the individual volumes and tonal curve of the instruments were modified. The board output went through a dolby noise suppressor and into another recording machine that made the Master. From this master the pressings were made.
Now it is all digital, everything is in 0 and 1 strings and it is all done by direct recording without and machines between the master digital tape or CD and copies by the 1000's are "Burned" . You buy them. They are many steps closer to the original than was in the previous system.
Hope that answers the question. But as for names - that was 35 years ago. If I had known you wanted to know I would have written it all down for you BUT - you didn't tell me so I never botherd. Sorry.
Vince Treanor
We recorded in several different studios. Each of these had different equipmetn. All of which, in those days, ws analoge. The volume was controlled by slide pots (Potentiometers) and the tone curve was controlled by active filters that contoured the bass, mid range and treble sections of the sound spectrum from abut 30 to 10,000 cycles.
Who made them - Who knows. The boards were custom buit of modules to the size you wanted. the installation took months of wiring between the board, an extensive patch bay (Like a pnhone operators console) and all the equipment that was connected to or associated with the control room. Speakers were usually Altec Lansing and eventually Bose. We had compressors, suppressors, Dolby units, monitors and all the equipment related thereto.
Studio equipment is all the same. It is only the diference in technology that has changed. Now everything is direct digital, the boards are still comewhat custom made but that is to stroke ego's. Kids can buy better boards off the shelf in a music store than were the best of the best in 1970. Pay a lot less as well.
Since it cost a great deal of money to install or redo a studio, those that existed tended to remain in existance fro a long time. The Engineer, like Bruce Botnik, became experts at getting all they could out of the older boards. But no matter what, they still all come down to the same thing - Volume and tone controls.
As for the Mixing - LP records were not made from a board. They are made from a "Master" - essentially a mold that has been cut on a special machine - in those days a Scully lathe.
The mixing process is about the same as the recording.
Int he recording mikes bring the sound to the board and they are recoded at appropriate level but use compressors to prevent overloading and clipping. This was recorded with very little modification directly onto a 8 16 or 32 track 3M recorder (in those days). Usually on BASF tape either 1" or 2" wide.
In mixing for the master, the mikes were replaced by the inputs from the various tracks of the recording machine. At this stage the individual volumes and tonal curve of the instruments were modified. The board output went through a dolby noise suppressor and into another recording machine that made the Master. From this master the pressings were made.
Now it is all digital, everything is in 0 and 1 strings and it is all done by direct recording without and machines between the master digital tape or CD and copies by the 1000's are "Burned" . You buy them. They are many steps closer to the original than was in the previous system.
Hope that answers the question. But as for names - that was 35 years ago. If I had known you wanted to know I would have written it all down for you BUT - you didn't tell me so I never botherd. Sorry.
Vince Treanor