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656620 Posts in 26265 Topics by 3734 Members - Latest Member: sloopjohnb72 April 09, 2020, 10:53:36 PM
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Author Topic: Mark Linett interview with multitracks on Produce Like A Pro Youtube Channel  (Read 3245 times)
aeijtzsche
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« Reply #50 on: March 04, 2020, 01:06:05 PM »

Mark --  I've had a chance to use the Sunset Plug-In a bit now.  It's interesting to me how relatively short the decay is on Chamber 1.  2 and 3 are much longer.  Is it likely Brian might have used any of these for something like "Here Today"?   Also of note is the great sounding Spring reverb.

Also still hoping you'll talk about my question earlier in the thread about pres and routing!!
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yrplace
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« Reply #51 on: March 04, 2020, 05:47:06 PM »

Mark if you check in here, about the board routing which you touch on in the video--I keep reading Bob Olhsson mentioning that Cal Harris told him that Chuck Britz actually preferred to bypass the board at Western a lot of the time, favoring an Ampex MX-10 for dynamics and ribbons, and going right into a limiter for tube mics.

Was that...possible?  Did the Putnam boards bypassing board-pre inserts from outboard pres?

I don't know for certain, but doubt that he would have used the AMPEX MX-10 which was vastly inferior to the console in Western Studio 3.  And that console didn't have inserts on each chl. It was a high impedance mixer which was fine because it had 3 or later 4 busses (Outputs) to feed the 3 track or 4 track deck. With only 3 or 4 tracks that was all you needed. The console in Studio 2 had a transformer on the output so an insert patch was possible as was a direct out so that console was easily used for 8 track recording.
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aeijtzsche
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« Reply #52 on: March 05, 2020, 11:34:41 AM »

Thanks for the response, Mark.  I think itís extremely important to get as much information about the working methods of the 3-track (and to some extent 4-track) era as we can before it is lost.  So you are doing history a valuable service when you answer my esoteric queries.  I wonder if Cal Harris (for those who donít know, he was an engineer for Motown Los Angeles) was describing an 8-track era practice, when engineers were starting to have to get used to the sound of solid state consoles.  I could see Chuck bypassing an early transistorized pre?  Do you agree Mark?

And if you feel like it, I really am curious if you feel like you can ID which chambers or plates or tanks you hear on Brianís Sunset Sound tracks. 

Also one more question for you, Mark, if you feel like answering.

On the IK livestream you mentioned that the Sunset Sound console in the 3 and 4 track era lacked channel EQ, having only the Fairchild 664s on the busses.  Now, the 610 modules had channel EQ, but did United Western also have program EQs on their busses?  And did gold star have any EQ other than Channel EQ (which I assume they had based on some Larry Levine comments)?

Thanks Mark, and history thanks you as well.
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c-man
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« Reply #53 on: March 05, 2020, 11:45:14 AM »

...I wonder if Cal Harris (for those who donít know, he was an engineer for Motown Los Angeles)...

FYI, he was also the engineer on the first "Good Vibrations" tracking session (Gold Star, 2/17-18, 1966). Smiley
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aeijtzsche
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« Reply #54 on: March 05, 2020, 12:55:55 PM »

...I wonder if Cal Harris (for those who donít know, he was an engineer for Motown Los Angeles)...

FYI, he was also the engineer on the first "Good Vibrations" tracking session (Gold Star, 2/17-18, 1966). Smiley

Yeah it seems that he cut his teeth both at Gold Star and at United Western (thus the Britz mentorship) before making his career at Motown.  He is hard to find specific biographical information about (like many of those fellows.)
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