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Many thanks,Sohoe,but I don't have the edit button ..Quote
Sohoe
Yep. Just hit the 'edit' button for your first post and change the subject title.
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scottkeef
Isnt it crazy how what this truck did in the 70s can pratically be done on a table top pc now?!! Talk about progress=seems like i read somewhere that all the computer technology that went into the first moon flight can fit into a cell phone now.(I dont know if THATS true but it does kinda illustrate a point.) It still seems like something has been lost in all this technology in the feeling of the recordings, doesnt it?
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RnT
I believe that the basic tracks of ABB were recorded on a laptop at Mick's castle.
RnT
This is the list,isn't it?Quote
Ruby Friday
The question I would like to have an answer, is a list of all the recording studios The Stones have been used,they have tried a lot of different studios.
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Ruby Friday
The question I would like to have an answer, is a list of all the recording studios The Stones have been used,they have tried a lot of different studios.
Unlike the Beatles how used Abbey Road "all the time" apart from Twickenham once or twice.
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loog droogQuote
Ruby Friday
Unlike the Beatles how used Abbey Road "all the time" apart from Twickenham once or twice.
I think they did "Baby You're a Rich Man" at Olympic.
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scottkeef
Beelyboy,just got back to looking at the posts and while MUCH of what you are talking about is greek to me(aint got near that kinda tech smarts!) I understand enough to know I agree with you. Say, since it sounds like you are in the "biz" do you know my favorite artist next to the Stones, Dave Alvin? I recently met him and hes about as real and friendly as it gets.
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cc
Sway, where'd you get that graphic of the band's set-up in Pathe Marconi? Very interesting...
and Beely, I mainly agree with you and enjoyed reading your post. I'm not an audiophile, and I enjoy "bad" recordings like 70s audience tapes and lo-fi punk rock albums, but I appreciate quality audio reproduction. Most listeners today don't even know what the relevant issues are (for example, "recorded on a laptop," as if that explains anything). I still can't afford a good system, but at least I have some sense of what I'm missing!
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Palace Revolution 2000
Sway where did tht graphic come from? Good stuff.
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cc
Sway, where'd you get that graphic of the band's set-up in Pathe Marconi? Very interesting...
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tomk
Are there any pics (inside and outside)
of Musicland and Dynamic Sound?
I've seen some on here of Musicland a few years ago
during the IORR sessions.
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cc
yeah Beely, the emphasis on having music be a portable "soundtrack for your life" I think is really changing the way it's produced--everything sounds like it's made for cheap headphones nowadays, all cranked to the max, with no sense of a room sound. Really, this is true for A Bigger Bang too, I think.
but oh--and back on topic!--thanks for mentioning the LA digital film school being the former RCA studio where "Satisfaction" and Aftermath were recorded--I'll have to check that out the next time I'm out there! The best studio for the original band, imo...
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tomk
The whole RCA building is a film school.
I'm sure the studio's been gutted and remodled several times.
I don't think they knew the history of that studio.
Stones, Elvis, Monkees, Jefferson Airplane, etc...
The RCA studio never got the credit it deserves.
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(RCA Studios) was a lovely big room, which meant you could work for hours and hours without getting tired. Good equipment. Great address (on Hollywood Boulevard). Also Dave Hassinger was there, who was a great engineer. In those days, for two or three years, we were basically working 350 days a year. You'd have 10 days off the tour to go to L.A. and record. RCA was the first room we recorded in in L.A. So we knew that when we got there we weren't in for strange surroundings. There was no time to check out a bunch of studios in those days. You'd just set up and go.
- Keith Richards, 2002
The atmosphere and studio, plus the fact that we knew we had good material, made the session a good one. We didn't think it would work out at first, as the studio is so gigantic we were terrified. Then Andrew hit on the idea of putting us in one corner, shutting off the main lights and just using a spotlight, to make it more cosy. The control room was also in darkness. A bit mad, but it did the trick. Me and the boys really let ourselves go. Bill should be mentioned. He really did a great job on one number, double-tracking on bass and six-string bass.
- Keith Richards, 1964