TO HELIOS AND BACK
Since I'm running a Macintosh, which as everyone knows is not a real computer, I can't comment on others' blogs. So I'll comment on Ted's blog here.
Production quality is always secondary to songs and performance. The Velvet Underground and Nico is pretty badly recorded, but it's perfect, and changed rock and roll forever. Same with "White Light White Heat" (we all know the story about the engineer leaving, saying "I don't have to be here for this. I'll put the machine in record. Come get me when you're done"). In fact, all of the Velvets records are badly recorded, and they're all masterpieces. Ted is absolutely right when he says not every record should sound like "Dark Side of the Moon."
The Stones' Mobile Unit, however, was no lo-fi affair. In fact, it was based around a Helios console, one of the greatest boards ever built. The Who's Ramport studio was designed around a Helios, "Are You Experienced" was done through a Helios, the Beatles Apple Studios housed a Helios. It became known as the Musician's Console, and everyone from Steve Winwood to Clapton to Leon Russell had 'em. The Rolling Stones mobile made a lot of hit records, including "Machine Head." Definitely not your typical project studio console!
3 Comments:
I'm going to look into this Helios console thing. It's amazing that with such a great console in the RS mobile unit Exile on Mainstreet sounded so shitty;-)
BTW... Tape-Op last issue had some cool stuff on a trip through Memphis and the old historical studios still in operation down there. Lots of very cool vintage gear being discussed.
I wasn't saying that the RSMU1 was lacking in any way, but that Keith's basement was both a good and bad enviroment. You can hear the ventilators on a few tracks, most notably 'Ventilator Blues', but the 'coral', a series of low walled cubicles worked fairly well as isolation booths. I wish there was a DVDof the making of that record.
Keith's basement certainly added challenges for Jimmy Miller during the making of Exile. Killer console aside, I think it was many other factors, recreational chemicals, being young/rich, living in rental property in France, etc... that lead to Exile sounding a little rough. Mick says he can't stand to listen to it because it so poorly recorded and mixed. I'm sure you'd agree, that the "garage sound" factor is part of it's endearment with all due respect to Mick. I happen to love the way Exile sounds. It's a classic example of songs over production. If G5 Mac's were available back then, it would have ruined it all.
I wish footage was available (outside of CS Blues) of those days at Nelcoate too. It would be my number one time travel request if time machines actually existed. Maybe I could be the one guy that remains sober enough to tweek the EQ, preamps, mic's, etc... to at least kill the track noise just a little :-)
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