Console history question

DonnyThompson

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Akron/Cleveland, OH
i always thought "Tug of War" was the first album recorded on digital. it's one of my favorite McCartney records. but again that would have been through the ISA desk at AIR.
You may very well be right about that pal... But I think BIA was one of the first "crop" of commercially successful records to have used the DASH format.
And as you mentioned, if they tracked Macca's album at George Martin's place, they probably used the Focusrite ISA desk, whereas BIA was through the 8078. Lol...either way, I don't think either album "suffered" sonically. ;)
 

Kurt Foster

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77 Sunset Lane.
"Tug of War" was done at AIR (Montserrat & London). i couldn't say for sure if they were using the Sony or the Mitsubishi machine. i'll see if i can look it up. i think i recall it was the Mitsubishi .......
 

DonnyThompson

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Akron/Cleveland, OH
"Tug of War" was done at AIR (Montserrat & London). i couldn't say for sure if they were using the Sony or the Mitsubishi machine. i'll see if i can look it up. i think i recall it was the Mitsubishi .......
I wasn't doubting you pal, my curiosity was if it was the first "big" album to be recorded to - or mastered - using DASH.
And because it was done at Martin's place, it would most certainly have been tracked/mixed through the ISA Desk.
There were like only 10 of them ever made; I know Ocean Way still has one, I don't know how many others remain... I recall reading that at least one was completely trashed by Katrina, (and I think one was damaged badly by an earthquake in Japan?)
I'll have to watch the doc about the desk again... then again, that doc is probably 5 years old by now, so I don't know how many ISA's are still remaining since - that still work.
;)
 

Kurt Foster

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77 Sunset Lane.
i think they completely refurbished the Katrina console. i saw a doc on it where they were cleaning out the buckets and sonically cleaning all the cards. Martin had 2 of them. 1 at Oxford and 1 at Montserrat.
 

DonnyThompson

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Akron/Cleveland, OH
i think they completely refurbished the Katrina console. i saw a doc on it where they were cleaning out the buckets and sonically cleaning all the cards. Martin had 2 of them. 1 at Oxford and 1 at Montserrat.
There was also one at BearTracks, a beautiful studio in Suffern, NY... located on a farm in an old stone barn, owned by Jay Beckenstein of Spyro Gyra.... Joe Chiccarelli talked about working there with the ISA desk.
I don't know where that one ended up, or if it was eventually parted-out...
As a side note, Chiccarelli talked about how Beartracks used one of the old stone grain silos there as a reverb chamber, and they would raise or lower the mics vertically to achieve different chamber reverbs. :)
 

kmetal

Kyle P. Gushue
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Boston, Massachusetts
i used to finish a 14 hour day of tracking and mixing only to go home to bed and dream of being at the console the whole night...... and waking up exhausted after sleeping for 8 hours.

that same thing used to happen to me, hence my hiatus. i still love it, so i broke at the right time i think.

before cassettes and 8 track tapes, some studios employed a low wattage transmitter so you could go outside to listen to a playback over the AM radio in a car.

thats cool. i have two of those, one bluetooth->FM, and one 1/8"-> FM that hooks up to anything. i actually got the idea from you in another thread while back. what im working on is the ability to make adjustments to the session, from the car. ideally with any device, but any laptop with a remote desktop connection is how im gonna start out, cuz im pretty sure thats gonna work. the idea being to make the adjustments right there as your hear them, possibly eliminating trips back to the car. also setting the same thing up over the web, so people can hear mix changes in their living room. things like EDnet have been around a while doing that, i just want a system that works on different devices, without any additional hardware or software.

The idea of another session coming in as a buzz kill never really occurred to me in that way, as I was in business to make money, it was my job, and like any job, you want the work to come in. It also provided you with breaks, which some of those sessions required. Sometimes it was best for me to come back the next day with fresh ears and finish a mix, as opposed to trying to get it all done in one day, although there were times I was able to get a mix done in just a few hours - it depended on the song.

ive definitely over mixed, many times. im never afraid to revert to an earlier mix if its better. mixing is sort like a little journey for me, so i enjoy even the shitty mixes, lol.

i had alot of free time to mess around, since most people only booked a couple days at a time, id play around in between. gigs helped pay bills. its interesting to see it from the perspective of the owner. i never had to pay the bills, if i got paid, the studio got its share, otherwise i had access, as a trade for building the two places for next to no $.

i always feel time constraints inhibit my creativity, with the extreme being just never ending mixes, i just have a hard time getting in the zone if i have scheduling things like that. deadlines are a different thing, those are helpful to me. creative freedom was big reason i wanted to start at a commercial place anyway, people would come home at 5 or 6, and i had no isolation at night. i tend to work by myself, when the mood strikes. a great recipe to be 33 and couch surfing lol. i learned that freedom comes at a price, the whole business side of it.

I wasn't doubting you pal, my curiosity was if it was the first "big" album to be recorded to - or mastered - using DASH.
And because it was done at Martin's place, it would most certainly have been tracked/mixed through the ISA Desk.
There were like only 10 of them ever made; I know Ocean Way still has one, I don't know how many others remain... I recall reading that at least one was completely trashed by Katrina, (and I think one was damaged badly by an earthquake in Japan?)
I'll have to watch the doc about the desk again... then again, that doc is probably 5 years old by now, so I don't know how many ISA's are still remaining since - that still work.
;)

there was a documentary on the ISA's i belive there's 5 or 8 left? i know one college age guy has one in his bedroom in europe.
 

Kurt Foster

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Jul 2, 2002
Location
77 Sunset Lane.
Kurt Foster said:
i used to finish a 14 hour day of tracking and mixing only to go home to bed and dream of being at the console the whole night...... and waking up exhausted after sleeping for 8 hours.
that same thing used to happen to me, hence my hiatus. i still love it, so i broke at the right time i think.

it's good to know this has happened to others. i was thinking i was getting a little psychotic at the time. actually the same thing has happened to me with other circumstances, like a computer game i might play for a few days running. i'll go to sleep and dream i'm playing .....
 

kmetal

Kyle P. Gushue
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Jul 21, 2009
Location
Boston, Massachusetts
Kurt Foster said:
i used to finish a 14 hour day of tracking and mixing only to go home to bed and dream of being at the console the whole night...... and waking up exhausted after sleeping for 8 hours.


it's good to know this has happened to others. i was thinking i was getting a little psychotic at the time. actually the same thing has happened to me with other circumstances, like a computer game i might play for a few days running. i'll go to sleep and dream i'm playing .....


i wonder if you get better at the game while your dreaming through it. this type of stuff fascinates me, unknowns about things we incur all the time. lol what about when you go into the studio and its light out, and you come out the next day, still light out.. Theres exterior windows at the the studios, that was always a head trip. gotta love sleep and sensory deprivation.
 

DonnyThompson

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Location
Akron/Cleveland, OH
i wonder if you get better at the game while your dreaming through it. this type of stuff fascinates me, unknowns about things we incur all the time. lol what about when you go into the studio and its light out, and you come out the next day, still light out.. Theres exterior windows at the the studios, that was always a head trip. gotta love sleep and sensory deprivation.
Well, yes and no, I think it can be either a double benefit or a double edged sword. You can think about things you want to do to the mix the next day...but at some point you have to be able to shut it off, too, although that's easier said than done when you've just spent 4-5 hours straight on a dense mix; plenty of nights I woke up with the hook of the song in my head that I'd been working on the mix of the day before. Sometimes it can be maddening, but, then you remember that one of your buddies is working the night shift in a noisy factory somewhere for minimum wage...and you don't feel quite as bad anymore. ;)
 

DonnyThompson

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Nov 25, 2012
Location
Akron/Cleveland, OH
Hello Donny! re early console automation … as a Canuck I clearly remember the [in]famously ambitious Olive consoles developed in Montreal. Here's a link. http://www.pmerecords.com/olive.cfm
This is a great article .
My mentor, private instructor and now long time dear friend, Steve Hebrock, worked at Caribou during those days; I'm gonna contact him and see if he remembers the Olive console. I know he was working on a Neve 78, but maybe he has some memories of the Olive desk that he can share with me .
Thanks for posting that article! :)
-d.
 
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