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I bought 4 Helios channels as I am such a fan and am proud of a piece of the Olympic Studios desk that Fletcher from Mercewnary audio gave me.
What was it like? What time did you get started most days? Did you pop a sample on Charlies BD and Sn?
Keef?!

Spill da beenz man!

Did you use Apogee AD8000's & softlimit on the mixes ? UV 22 I think thats what convinced me to buy into that stuff, your album with the Stones...I think I read it on the mastering notes & read Don Was raving about it. Anyhoo, let it rip!

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Jeeez Jules,
I gotta think about this. I'll get back to you.
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Get Back to us please,Im interested too.

Del Cosmos

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ThINKINHG ABOUT IT, IF IT WAS ME I wouldn't know where to start if I was asked!
So letting you off the hook, what mic's and pre's did you use on Charlie? Any samples? Did he / you have a drum tech?

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OK, I am figuring out what I can talk about.....I'll get back to you with set-ups, mics, procedures, things like that, but please see my new post, ethics.

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I do have to say, that Charlie is the greatest rock drummer that I have ever heard. We tracked in Oceanway 1 (now Cello) in L.A. It's a pretty straight ahead set up. I used the mic pre's on the Neve 8078 console....great sounding desk. C-12's on overheads, B&K 4011's on snare top and hi-hat, Sennheiser 441 snare under....Audio Technica AT 25's on toms......421 on the kick close, FET 47 on kick further away..... M-50's spread around the room for ambience. You really just capture what Charie plays, more than any other drummer that I have worked with, he controls the sound. Without me touching a thing, he makes the drums brighter, duller, etc. according to the song. He really does not change his heads often, or at all. His drum tech, Chuch Magee has been with Charlie for over 25 years, and does a great job keeping all his stuff together. The drums that you see on the stage for the tours is the same set he uses in the studio. I am sure that I don't have to tell you what a thrill it is just to sit there and listen to him play.....and you just capture what he does and call it a day (night really). I do have to say that Charlie, aside from being a consumate musician, is one of the kindest, nicest, most considerate people you will meet walking the face of this lonely planet.
How's that.
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Ed,

First, i read your Ethics post, and it makes me feel good to know that some people still have them.

It is my understanding that Keith Richards, as opposed to all the rumore to the contrary, is a logging genius in the studio, remembering everything, every take, and never " out of the game" I'm not asking if this is the case ( I read about your non-disclosure agrement, and I think It's great)

How do you log what must be an enormus amount of tape?

as a second, I have had to do alot of this, and everyone seems to want it a diffrent way.

Hope this makes sense.




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It's true, Keith is a fucking genius, he remembers everything. Being the second engineer can be quite daunting, because if the band is in the studio, even if they are just passing wind, the tape is rolling. We had to hire someone just to be the librarian, we used a data base to keep track, and believe me, those tapes are under lock and key. By the way, Stones gigs are the best way in the world to season an assistant engineer.......or to destroy one.

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Ed, and Fellow readers:

As a slightly related post, I wrote an article for one of this Board's Parent Companie's Magazines about 6 or 7 years ago, when Keith was touring with his X-Pensive Winos, at the Beacon, in NYC.

The thing that the band did in concert, which I had never seen done before, and haven't since, is change insturment and amps with mics, depending on the style of song.

Now Keith changes guitars often; this is common practice, but the Bass Player, and I apologisec to him, I forgot his name, ALSO changed basses and amps, on a song per song basis.

I know they changed amps and mics on the amps, by speaking to their FOH mix engineer, Benji.

But, the most impressive thing I saw, was the drummer, Steve Jordan, one of my all time favorites, change snares and cymbals , depending on the style of the song, as well!!

A small piccolo snare for that "crack", and a small splash cymbal during a Reggae tune, and a deep wooden snare with a big crash cymbal for a rocker.

I though it was great, changing instruments, amps, and mics, instead of EQs and samples for the different sounds during the concert.

This only relates to Keith's stuff, but hey, he's a Stone(r), isn't he?

ED:

Did they do anything like that, as far as drums stuff during the recording of the album?

AND, did you ever get your FATSO demo yet?



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Bob,

When Keith did the main offendr album at Le Studio in Canada, The drummer showed up with something like 11 full kits... he set up the first one and they never changed...

just cause you'd like this tidbit, they also used something like 75-80 reels os 2-inch in about 10 days of tracking..

ouch.... Smell that tape!



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On the Bridges To Babylon record, Charlies' kit stayed the same. I don't think that we changed a head. On the tour, which we recorded about 50 shows, the Lads would change guitars, but the amps remained the same. The drums never changed, except on 2 occasions, when Charlie actually broke his kick drum head....."I'm Keith fuckin Moon", is the aside that he made.
No, I have not demo'd Mr. Fatso, yet.

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Ed:

Interesting.

Was Benji LeFere (sp?) doing the FOH sound, or someone else?

And Keith only used ONE amp all night, or was plugged into a few?

I guess that shows what the differences between the Stones and the Winos are.

The Stones get it all with the same stuff.

I DID find the technique of changing instruments, amps, snares, and cymbals very interesting, though, especially live.

And I'm going to see Mr. Fatso on Monday. He's got 100 new boards in, and I think one has your name on it.



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Hi Bob, thanks. Benji was doing FOH on the Voodoo Lounge tour, which we recorded in Tokyo, Paris, Miami (I think), and a handful of other cities. During the Voodoo Lounge tour, we also recorded the Stripped album in Amsterdam, with Benji at FOH....I love Benji, a very intersting fellow. I think if he was around in WWII, he would have been running the RAF. On the Bridges tour, FOH was handled by Robby McGrath, also a great guy and a fine, fine mixer. It's really important to be on good terms with the FOH mixer, and on the Stones gigs, especially their monitor mixer, Wevins, cause they are the ones that can guarentee that you get any kind of sound check and a chance to hunt buzzes, get levels, etc. Because the Stones, especially later in the tour, would not do soundchecks, I was many times able to get rough sounds and levels by encouraging (well, it didn't take too much encouragement) the back line fellows....who had a band, to go out and play for my soundcheck. Most of the time, though, my soundcheck was the first song, and hopefully I could get my balances together by the first chorus.
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Oh yeah, Keith would be plugged into 2 amps....one a backup in case the first went down.

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ED:

Well, that's cool. Single amps and no drum changes!! Reminds me of how it was in the bands I was in in Jr. High School trying to cop the Stone's sounds.

Only we did it because he didn't have the gear, not to be cool (although we thought we were).

I guess it would be putting you on the spot to say who you liked better as front of house, so I'll only say on the X-Pensive Winos stuff, the upper mids could rip through the walls of any venue played.

Whether that's good or bad is up to one's preferences, but I experienced a sharp loss of my 3-7KHz hearing for about two weeks after those shows.

I'll Email you after Monday to give you a schedule of completion on the Fatso thing.

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"can anyone shed any light on the 'table talk' about Fatso?

Wass id all aboud?

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Jules:

It's a new product a friend of mine who developed the "Distressor" is beta-ing.

It's a two channel "Fattener" for mixes, using some new and old technology combined (no tubes, though).

I'm never actually heard it yet, but the few guys out there that have the units love them.


I'm supposed to check one out next week, and if you'd like, I'll tell you just what it does, and what I thought of the unit.

Bob.

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OK
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Bill you NAME-DROPPER!

I know all about you NJ guys from having worked there.

Rich...

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Ron, er.., George, er..., I mean Rich.

I don't HAVE to drop names, anymore.

We can ALL now say "Yea, well I've been talking to Ed Cherney about how he recorded the Stones, but George Massenburg got a little pissed because he's a crusty old guy that cleans his own toilets, and we were goofing on him about it, and he and Ed wanted to sic Fletcher on us, but we chilled out.

Then; Roger Nichols!! All we argue about is Analogue vs. Digital, and we keeps on talking about his Steely Dan adventures, and we avoid the John Denver anedotes.

I wonder if he's going to watch the "John Denver" story on TV next month, and who's going to play him (Roger)?

And us NJ guys really work mostly in NYC.

It's just too expensive and crazy to actually LIVE there.

You might want to come home to trees and no traffic in Whitelandia, Suburbia, every once in a while, and not have to deal with tons of car alarms going off from out of towners, signaling it's the weekend nights, or who ride standing up on limo seats, poking there drunken heads out of the sunroofs and Whooo!!-ing and waving.

Of course they are usually the Suburban Kids from the Prom in Whitelandia, NJ, or Lawn Guyland, NY, but you get the picture!!

PLUS, George couldn't even get my name right, or called me "Bill" just to 'dis' me out!!

Next time I have a choice of using his compressor or a Distressor, guess which one I'm going to use!!

Ed got my name right, so I'll put in a good word to Mick and Keith for him.

And, Roger is neutral, so I won't tell you where his Wendell Jrs. are, (in an old SSL studio under an (in)famous club in NYC where he actually used to mix in ANALOGUE). Guess who he mixed there?

Believe it or not; Steely Dan!!






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Bob.

[This message has been edited by THE MIX FIX (edited 04-16-2000).]

[This message has been edited by THE MIX FIX (edited 04-16-2000).]

[This message has been edited by THE MIX FIX (edited 04-16-2000).]


Bob Buontempo.

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I know some guys who work in Jersey City who live in Hackensack.

Rich...

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They must be Big Blue Meanies!!



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That would be them. Except don't let them see you spell their name like that. :-)

It's MEENIE. They get bent about that.

Do you know them at all Bob?

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Rich:

No, not personally, only by reputation, and I know a band that recorded there.

But, if you know them, give me an introduction.

I'd love to check out the 9098, and it's only 15 minutes away from me, in case they need an emergency engineer for a gig.




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Bob.


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Drop me an email, we'll talk.

Rich...

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A band I am good chums with THE ROSENBERGS record there 'on spec' they are great, I hang with them when the come over to london which is their favourite place..
Jules


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Rich;

My Email address is THEMIXFIX@AOL.COM. The profiles on this site, apparently, have problems giving out Email addresses, even if you made yours available when registering.

If I could have yours, I'd be more than happy to send you a snobby, rude, arrogant Email!!

Bill;





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it would be great if you could let me know about the fat boy thing as well.jonathan


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