That was probably during the "rack" days, so I'd guess a Boogie preamp and 290 power amp, though for awhile I was using a Lee Jackson preamp. All I know is that there were no real amps involved, which is a shame because they sound so much better. When I was 18 I had a plexi Marshall - when it comes to gear, I wish the 80's never happened.
I'd forgotten which album that song is on - if it's Reality check, it was the Lee Jackson preamp, and I borrowed Allan's "Harness" for that record because I did a lot of the tracks at home. That record was our first attempt at digital recording, using ADATs. The Boogie 290 went into the Harness, and the output of the Harness went to a 30 watt Carvin power amp, so the cabinet was very soft - if the dogs started barking the take was ruined.
Some funny stories about that recording - TJ Helmerich was busy so he couldn't engineer this time, so we recorded at Ocean Way, a very famous studio in LA. TJ would spend countless hours making Covington's drums sound good - this engineer pretty much left them as they really sound. Comedy ensued. Alan Sides is a famous engineer who I think was the owner of the studio at the time. He wanted to put an AKG C414 on my cabinet - I hate that mic so I asked him "if it's OK with you, can we use a Shure 57?" He looked at me and walked out of the room - we never saw him again. What an ass clown! The 2nd engineer ended up recording the album.
We were in the same room - working on it at home doesn't mean solos and other things were replaced. A big part of making a this type of record is not ever erasing anything involving interplay. All rhythmic material has to be kept exactly as it went down in the basic tracks - things which can be changed are re-playing something for better tone, fixing mistakes if they're really obvious, and punching in new phrases - but only if they're the same exact rhythm as the original. If it's a track where the bass and drums just groove through a whole solo like a pop/ rock rhythm section would, you could overdub a completely different solo and no one would know the difference, but in Tribal Tech that almost never happened.
Jazz musicians all have their own ways of dealing with the studio. On one side there's playing a live set and it's finished. On the other side there's massive production and arranging, which usually results in a sterile sounding record. However, there's a lot of gray in between, and experienced musicians know how to produce an album, make it sound the best it can, while preserving the interplay which happened when the band played in the studio together.
Joined: 14 Feb 2017 Posts: 126 Location: Thessaloniki, Greece
Posted: Sat Sep 19, 2020 10:39 am Post subject:
Thanks for the info, Scott. Really appreciate it.
Really cool for me to have a basic idea of how it's done. It really is something special and it must take a long time to match tones and correct some things you might not like and still not mess with the interplay at all, which obviously you do really well.
Reading your last sentence, Manic Carpet came to mind straight away for some reason. Grey blooms wonderfully in the right hands.
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