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#1
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The Wrecking Crew
Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a
documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? |
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#2
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The Wrecking Crew
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#4
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The Wrecking Crew
mcp6453 wrote:
On 10/4/2012 8:13 PM, david gourley wrote: mcp6453 said...news:ruWdnQas- : Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? Bob Olhsson ? 'Wrecking Crew' was pretty well done, although it really made me hungry for more. Lots of great Glen Campbell footage too. Yes, Bob Olhsson. How did you get to see the movie? It has been screened in NYC, I think. And there's this, too: http://tinyurl.com/6sd2ztm -- shut up and play your guitar * http://hankalrich.com/ http://www.youtube.com/walkinaymusic http://www.sonicbids.com/HankandShaidri |
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#5
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The Wrecking Crew
hank alrich wrote:
mcp6453 wrote: On 10/4/2012 8:13 PM, david gourley wrote: mcp6453 said...news:ruWdnQas- : Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? Bob Olhsson ? 'Wrecking Crew' was pretty well done, although it really made me hungry for more. Lots of great Glen Campbell footage too. Yes, Bob Olhsson. How did you get to see the movie? It has been screened in NYC, I think. And there's this, too: http://tinyurl.com/6sd2ztm Notice of screenings hee: http://wreckingcrew.tv/ -- shut up and play your guitar * http://hankalrich.com/ http://www.youtube.com/walkinaymusic http://www.sonicbids.com/HankandShaidri |
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#6
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The Wrecking Crew
There's a lot of information about how some classic engineers did their stuff in Gary Gottlieb's book "How Does It Sound Now?"
Peace, Paul On Thursday, October 4, 2012 3:33:22 PM UTC-5, mcp6453 wrote: Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? w |
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#7
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The Wrecking Crew
PStamler wrote:
There's a lot of information about how some classic engineers did their stuff in Gary Gottlieb's book "How Does It Sound Now?" Peace, Paul On Thursday, October 4, 2012 3:33:22 PM UTC-5, mcp6453 wrote: Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? w During my brief time at Goldstar Studios in '65, these were the first-call players coming an going every day. Mostly, we were blue-collar workers, no time for egos. The Engineers were Larry Levine and co-owner Stan Ross. The mixers were designed and built by co-owner Dave Gold. The machines were Ampex 300 3-tracks and 350 mono- and 2-tracks. The monitors were Altec A7s and 604Cs driven mostly by MacIntosh amps. Dave built the lathes in the dub/disc room where I spent most of my time, there were variable-pitch Scully lathes in the mastering room to which I was assigned now and then. Phil Spector invited me to assess his home system one weekend, I knocked, but the door never opened. My fondest memory is of receptionist Tina, a sweet drop-dead beautiful petite blond who seemed to like everyone! In hindsight, those were awesome days. -- ~ Roy "If you notice the sound, it's wrong!" |
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#8
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The Wrecking Crew
On 10/5/2012 5:42 AM, Roy W. Rising wrote:
PStamler wrote: There's a lot of information about how some classic engineers did their stuff in Gary Gottlieb's book "How Does It Sound Now?" Peace, Paul On Thursday, October 4, 2012 3:33:22 PM UTC-5, mcp6453 wrote: Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? w During my brief time at Goldstar Studios in '65, these were the first-call players coming an going every day. Mostly, we were blue-collar workers, no time for egos. The Engineers were Larry Levine and co-owner Stan Ross. The mixers were designed and built by co-owner Dave Gold. The machines were Ampex 300 3-tracks and 350 mono- and 2-tracks. The monitors were Altec A7s and 604Cs driven mostly by MacIntosh amps. Dave built the lathes in the dub/disc room where I spent most of my time, there were variable-pitch Scully lathes in the mastering room to which I was assigned now and then. Phil Spector invited me to assess his home system one weekend, I knocked, but the door never opened. My fondest memory is of receptionist Tina, a sweet drop-dead beautiful petite blond who seemed to like everyone! In hindsight, those were awesome days. Roy, you need to write a book or at least record a few hundred hours in front of a video camera and recorder. There is so much you know that we want to hear. |
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#9
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The Wrecking Crew
mcp6453 writes:
On 10/5/2012 5:42 AM, Roy W. Rising wrote: PStamler wrote: There's a lot of information about how some classic engineers did their stuff in Gary Gottlieb's book "How Does It Sound Now?" Peace, Paul On Thursday, October 4, 2012 3:33:22 PM UTC-5, mcp6453 wrote: Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? w During my brief time at Goldstar Studios in '65, these were the first-call players coming an going every day. Mostly, we were blue-collar workers, no time for egos. The Engineers were Larry Levine and co-owner Stan Ross. The mixers were designed and built by co-owner Dave Gold. The machines were Ampex 300 3-tracks and 350 mono- and 2-tracks. The monitors were Altec A7s and 604Cs driven mostly by MacIntosh amps. Dave built the lathes in the dub/disc room where I spent most of my time, there were variable-pitch Scully lathes in the mastering room to which I was assigned now and then. Phil Spector invited me to assess his home system one weekend, I knocked, but the door never opened. My fondest memory is of receptionist Tina, a sweet drop-dead beautiful petite blond who seemed to like everyone! In hindsight, those were awesome days. Roy, you need to write a book or at least record a few hundred hours in front of a video camera and recorder. There is so much you know that we want to hear. +1 Frank Mobile Audio |
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#10
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The Wrecking Crew
On 10/4/2012 8:48 PM, mcp6453 wrote:
How did you get to see the movie? Coming to an underground movie house near you: http://www.wreckingcrewfilm.com/upcoming.html If you're going to the AES convention in San Francisco at the end of November, it will be shown there. Other good things at AES, too, some of which are also free. Registration for the exhibits is free, which includes the Project Studio Expo program. I'm not sure if the film is part of the freebies. Register for the AES convention at: http://www.aes.org/events/133/registration/ -- "Today's production equipment is IT based and cannot be operated without a passing knowledge of computing, although it seems that it can be operated without a passing knowledge of audio." - John Watkinson http://mikeriversaudio.wordpress.com - useful and interesting audio stuff |
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#11
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The Wrecking Crew
mcp6453 wrote:
During my brief time at Goldstar Studios in '65, these were the first-call players coming an going every day. Mostly, we were blue-collar workers, no time for egos. The Engineers were Larry Levine and co-owner Stan Ross. The mixers were designed and built by co-owner Dave Gold. The machines were Ampex 300 3-tracks and 350 mono- and 2-tracks. The monitors were Altec A7s and 604Cs driven mostly by MacIntosh amps. Dave built the lathes in the dub/disc room where I spent most of my time, there were variable-pitch Scully lathes in the mastering room to which I was assigned now and then. Phil Spector invited me to assess his home system one weekend, I knocked, but the door never opened. My fondest memory is of receptionist Tina, a sweet drop-dead beautiful petite blond who seemed to like everyone! In hindsight, those were awesome days. Roy, you need to write a book or at least record a few hundred hours in front of a video camera and recorder. There is so much you know that we want to hear. Thanks. Maybe some day. Meanwhile, I'll continue to lurk here and fill in the blanks when I can. -- ~ Roy "If you notice the sound, it's wrong!" |
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#12
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The Wrecking Crew
Roy W. Rising wrote:
mcp6453 wrote: During my brief time at Goldstar Studios in '65, these were the first-call players coming an going every day. Mostly, we were blue-collar workers, no time for egos. The Engineers were Larry Levine and co-owner Stan Ross. The mixers were designed and built by co-owner Dave Gold. The machines were Ampex 300 3-tracks and 350 mono- and 2-tracks. The monitors were Altec A7s and 604Cs driven mostly by MacIntosh amps. Dave built the lathes in the dub/disc room where I spent most of my time, there were variable-pitch Scully lathes in the mastering room to which I was assigned now and then. Phil Spector invited me to assess his home system one weekend, I knocked, but the door never opened. My fondest memory is of receptionist Tina, a sweet drop-dead beautiful petite blond who seemed to like everyone! In hindsight, those were awesome days. Roy, you need to write a book or at least record a few hundred hours in front of a video camera and recorder. There is so much you know that we want to hear. Thanks. Maybe some day. Meanwhile, I'll continue to lurk here and fill in the blanks when I can. Actually the AES has an oral history project going around doing exactly this for people: http://www.aes.org/aeshc/docs/oralhi...y-project.html You should contact Bill Wray about sending someone out. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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#13
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The Wrecking Crew
On 10/5/2012 11:45 AM, Scott Dorsey wrote:
Roy W. Rising wrote: mcp6453 wrote: During my brief time at Goldstar Studios in '65, these were the first-call players coming an going every day. Mostly, we were blue-collar workers, no time for egos. The Engineers were Larry Levine and co-owner Stan Ross. The mixers were designed and built by co-owner Dave Gold. The machines were Ampex 300 3-tracks and 350 mono- and 2-tracks. The monitors were Altec A7s and 604Cs driven mostly by MacIntosh amps. Dave built the lathes in the dub/disc room where I spent most of my time, there were variable-pitch Scully lathes in the mastering room to which I was assigned now and then. Phil Spector invited me to assess his home system one weekend, I knocked, but the door never opened. My fondest memory is of receptionist Tina, a sweet drop-dead beautiful petite blond who seemed to like everyone! In hindsight, those were awesome days. Roy, you need to write a book or at least record a few hundred hours in front of a video camera and recorder. There is so much you know that we want to hear. Thanks. Maybe some day. Meanwhile, I'll continue to lurk here and fill in the blanks when I can. Actually the AES has an oral history project going around doing exactly this for people: http://www.aes.org/aeshc/docs/oralhi...y-project.html You should contact Bill Wray about sending someone out. --scott Roy, PLEASE do it! |
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#14
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The Wrecking Crew
"Roy W. Rising" wrote in message
... mcp6453 wrote: Roy, you need to write a book or at least record a few hundred hours in front of a video camera and recorder. There is so much you know that we want to hear. Thanks. Maybe some day. Meanwhile, I'll continue to lurk here and fill in the blanks when I can. There always seems to be another day - until there isn't. I sure wish I had recorded my father's stories. Sean |
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#15
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The Wrecking Crew
mcp6453 wrote:
On 10/5/2012 11:45 AM, Scott Dorsey wrote: Roy W. Rising wrote: mcp6453 wrote: During my brief time at Goldstar Studios in '65, these were the first-call players coming an going every day. Mostly, we were blue-collar workers, no time for egos. The Engineers were Larry Levine and co-owner Stan Ross. The mixers were designed and built by co-owner Dave Gold. The machines were Ampex 300 3-tracks and 350 mono- and 2-tracks. The monitors were Altec A7s and 604Cs driven mostly by MacIntosh amps. Dave built the lathes in the dub/disc room where I spent most of my time, there were variable-pitch Scully lathes in the mastering room to which I was assigned now and then. Phil Spector invited me to assess his home system one weekend, I knocked, but the door never opened. My fondest memory is of receptionist Tina, a sweet drop-dead beautiful petite blond who seemed to like everyone! In hindsight, those were awesome days. Roy, you need to write a book or at least record a few hundred hours in front of a video camera and recorder. There is so much you know that we want to hear. Thanks. Maybe some day. Meanwhile, I'll continue to lurk here and fill in the blanks when I can. Actually the AES has an oral history project going around doing exactly this for people: http://www.aes.org/aeshc/docs/oralhi...y-project.html You should contact Bill Wray about sending someone out. --scott Roy, PLEASE do it! Thank you Scott, Sean and MCP6453. I've looked over the long list of participants in the AES project. While I might bring some kernels to the mix, I'm not sure my generally workaday adventures are a proper fit. The next time I have lunch with a senior friend who is active in AES here, I'll bounce the idea around. As I've mentioned to Frank Stearns, I might have a book within me. The working title could be "The Book on TV Sound", perhaps set in the "For Dummies" series. Most of what I've had to say resides in the archive of the 1985-2000 "Sound Ideas" and "Audio Tracks" monthly columns I wrote for Video Systems Magazine. These anecdotes might serve as fillers, sometimes supporting the tech matters. To all ... I enjoy what an old TV Director/friend called "swapping lies". If there's something about which you'd like my ruminations, send up a flare. Direct contact also is welcome. If you find yourself in Los Angeles, there's always time ... "until there isn't". -- ~ Roy "If you notice the sound, it's wrong!" |
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#16
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The Wrecking Crew
On 10/5/12 12:30 AM, hank alrich wrote:
Bob Olhsson ? 'Wrecking Crew' was pretty well done, although it really made me hungry for more. Lots of great Glen Campbell footage too. Yes, Bob Olhsson. How did you get to see the movie? It has been screened in NYC, I think. And there's this, too: http://tinyurl.com/6sd2ztm Over on Amazon, Carol Kaye has commented - and none too complimentary - about this book. She offers some alternative sources for documentation, for anyone interested. Seems she's pretty ****ed about being misquoted. bzb |
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#17
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The Wrecking Crew
On 10/6/2012 3:49 PM, Ben Berman wrote:
Over on Amazon, Carol Kaye has commented - and none too complimentary - about this book. Well, we're talking about the movie, and she's writing about a relatively new book. And then there's an older book, too, by Hal Blaine and Dave Goggin (Mr. Bonzai to old Mix readers) of which I have the first edition. Apparently Carol Kaye didn't think much of Hal Blaine. Most if not all of the musicians she mentions in her rants on Amazon are featured in the movie, including her . . . and Hal Blaine -- "Today's production equipment is IT based and cannot be operated without a passing knowledge of computing, although it seems that it can be operated without a passing knowledge of audio." - John Watkinson http://mikeriversaudio.wordpress.com - useful and interesting audio stuff |
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#18
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The Wrecking Crew
On Sat 2012-Oct-06 05:22, Roy W. Rising writes: To all ... I enjoy what an old TV Director/friend called "swapping lies". If there's something about which you'd like my ruminations, send up a flare. Direct contact also is welcome. If you find yourself in Los Angeles, there's always time ... "until there isn't". Agreed, and I have to echo others here. YOur anecdotes from the trenches are one of the reasons I still hang here. There's a lot of history and heritage in those old war stories, and lessons for the newbies to learn. KEep 'em coming!!! Regards, Richard -- | Remove .my.foot for email | via Waldo's Place USA Fidonet-Internet Gateway Site | Standard disclaimer: The views of this user are strictly his own. |
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#19
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The Wrecking Crew
Mike Rivers wrote:
On 10/6/2012 3:49 PM, Ben Berman wrote: Over on Amazon, Carol Kaye has commented - and none too complimentary - about this book. Well, we're talking about the movie, and she's writing about a relatively new book. And then there's an older book, too, by Hal Blaine and Dave Goggin (Mr. Bonzai to old Mix readers) of which I have the first edition. Apparently Carol Kaye didn't think much of Hal Blaine. Carol Kaye is rumored to suffer from Obnoxious Personality Disorder. Blaine played on "Bridge Over Troubled Water", so that's about as "first call" as it gets...Blaine managed to sound very human and fresh for a studio guy. Most if not all of the musicians she mentions in her rants on Amazon are featured in the movie, including her . . . and Hal Blaine -- Les Cargill |
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#20
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The Wrecking Crew
Ben Berman wrote:
On 10/5/12 12:30 AM, hank alrich wrote: Bob Olhsson ? 'Wrecking Crew' was pretty well done, although it really made me hungry for more. Lots of great Glen Campbell footage too. Yes, Bob Olhsson. How did you get to see the movie? It has been screened in NYC, I think. And there's this, too: http://tinyurl.com/6sd2ztm Over on Amazon, Carol Kaye has commented - and none too complimentary - about this book. She offers some alternative sources for documentation, for anyone interested. Seems she's pretty ****ed about being misquoted. bzb I've also read elsewhere from people who were there and she's a bit off the wall, to put it politley, with a bunch of her claimage. -- shut up and play your guitar * http://hankalrich.com/ http://www.youtube.com/walkinaymusic http://www.sonicbids.com/HankandShaidri |
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#21
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The Wrecking Crew
On 10/6/2012 7:04 PM, Les Cargill wrote:
Mike Rivers wrote: On 10/6/2012 3:49 PM, Ben Berman wrote: Over on Amazon, Carol Kaye has commented - and none too complimentary - about this book. Well, we're talking about the movie, and she's writing about a relatively new book. And then there's an older book, too, by Hal Blaine and Dave Goggin (Mr. Bonzai to old Mix readers) of which I have the first edition. Apparently Carol Kaye didn't think much of Hal Blaine. Carol Kaye is rumored to suffer from Obnoxious Personality Disorder. Blaine played on "Bridge Over Troubled Water", so that's about as "first call" as it gets...Blaine managed to sound very human and fresh for a studio guy. Most if not all of the musicians she mentions in her rants on Amazon are featured in the movie, including her . . . and Hal Blaine I have had a few interactions with Carol over the years. We don't know each other. At one point in time, a documentary of the Beach Boys was playing on network TV for the first time. Carol and I were exchanging emails about the content of the show while it was playing. On another occasion, she tried to help me understand how I could improve my guitar playing. She recommended some resources, which I purchased. They were so far over my head that they were useless. Maybe she's hot and cold, but on those few occasions that I have communicated with her, she has been gracious and generous with her time. That's more than I can say for a couple of people on rec.audio.pro even. |
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#22
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The Wrecking Crew
"hank alrich" wrote in message news:1krkkua.19w9ngfavpvrrN% I've also read elsewhere from people who were there and she's a bit off the wall, to put it politley, with a bunch of her claimage. She frequent a bass list - The Bottom Line - for a period, but left in a huff after continual disagreements and spats. Seems to be a bit of a trend ..... geoff |
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#23
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The Wrecking Crew
In article ,
mcp6453 wrote: Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? The Wrecking Crew (the people, not the movie) is/was a real interesting subject to me and others. As an active small player (on brass) studio player some 15-20 years after the height of the WC, it's a huge interest to me. I've worked with several of those folks, and the stories from them are so interesting. I love knowing who played on what session and in what studio. I even like going to the old studios in LA when I visit there (like this past weekend), even just to stand in front and ruminating on what took place there. Yesterday, I walked by the old Western and United Recorders location and just stood there for a time, thinking through some of the sessions that I know about, people who I know who played on them, etc. There ought to be a plaque! That stretch of Sunset Blvd is so legendary. Western, United, RCA at 6363 Sunset, etc etc. The stories include stretches of sleepless nights going from call to call. The late Roy Main, who played trombone on everyone's sessions from Sinatra to the Monkees, told me of actually getting calls for sessions, and guys accepted them knowing that they wouldn't get out of another session until the next session was to start, but they would be betting on the second session starting a bit late. Usually they were correct. These nameless (to most people) folks were so in demand that even if they were a few moments late, they know that it would be OK. No one can get away with that now! You're late, they don't call back. They often slept in their cars or VW vans on a side street off Sunset, catching a few Zs, then off to the next call. Amazing days. Yes, Carol Kaye is a bit of a pain these days. But she's still a dear person and great player. Her "filters" have just been shut down with age. She and Joe Osborn are without a doubt the most recorded bass players ever. Hal Blaine? Forgetaboutit. The Boss. Has to be the most heard drummer ever. My guitar teacher and friend Laurence Juber is probably the first call guitar guy now, and I understand the kind of temperament and talent needed to do that job. These people are so good that it's hard to imagine. I can't wait to see that movie. |
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#24
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Hi,
I was one of the recording engineers of that era. Mostly the 1970’s through the middle 1980’s. I recorded the Wrecking Crew several times on everything from record dates to commercials to film scores. During the 70’s and later, the Wrecking Crew consisted mostly of Hal Blaine (drums), Joe Osborn (Bass) and Larry Knechtel (Piano). Tommy Tedesco was often on guitar but the guitarist varied. Carol Kay often played Bass in place of Joe Osborn. I knew all of them. Particularly, Hal Blaine. I used to hang out with Hal and his drum techs: Rick & Robby. I could write a book about that era of music recorded in Hollywood and probably should. Specifically, what would you like to know? I can tell you that what you posted about the Carpenters seems correct. Hal Blaine played drums on their early recordings until Karen’s playing was up to speed for studio work. The recording engineer/mixer was Henry Lewy, a colleague of mine. Cheers! Corey Corey Bailey Audio Engineering Quote:
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#25
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The Wrecking Crew
It turns out that the name I've been looking for is Ray Gerhardt. How can Ray
not have a Wikipedia page? It's almost impossible to find any current information about him, including whether he's still alive. I want about 30 minutes of his time!  On 10/18/2012 12:44 AM, CBAUDIO wrote: Hi, I was one of the recording engineers of that era. Mostly the 1970’s through the middle 1980’s. I recorded the Wrecking Crew several times on everything from record dates to commercials to film scores. During the 70’s and later, the Wrecking Crew consisted mostly of Hal Blaine (drums), Joe Osborn (Bass) and Larry Knechtel (Piano). Tommy Tedesco was often on guitar but the guitarist varied. Carol Kay often played Bass in place of Joe Osborn. I knew all of them. Particularly, Hal Blaine. I used to hang out with Hal and his drum techs: Rick & Robby. I could write a book about that era of music recorded in Hollywood and probably should. Specifically, what would you like to know? I can tell you that what you posted about the Carpenters seems correct. Hal Blaine played drums on their early recordings until Karen’s playing was up to speed for studio work. The recording engineer/mixer was Henry Lewy, a colleague of mine. Cheers! Corey Corey Bailey Audio Engineering 'mcp6453[_2_ Wrote: ;963186']Denny Tedesco, son of Tommy Tedesco of the famous Wrecking Crew, has produced a documentary about the famous LA session guys. Apparently he is trying to get it released, but for now, he's traveling all over the country doing individual showings. While I would dearly love to see the movie, I'm just as interested in knowing who engineered all of those 1960s sessions. Who tracked? Who mixed? Who mastered? What equipment was used? What studio? Those guys are just as much a part of the sound as are the Wrecking Crew. Many years ago I asked the same questions here about The Carpenters. What I learned, for example, is that most of their sessions were recorded with Karen on a U67. The recorded was a Scully, but it was supposedly highly modified by A&M engineers. Who are the engineers? Is this information on the web somewhere now? Who was the Motown tracking engineer who used to hang out here? |
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Yes! Ray Gerhardt.
I couldn't think of his name when writing my previous post. I didn't personally know Ray. Henry Lewy was a staff engineer at A&M at the time and mentioned to me that he had worked on several carpenters projects but I don't see it reflected in his credits. Not surprised though, we often got called to work on a project just before release and the graphics were already done so no credits. Usually, it amounted to a change or remix of one song or replacing one or two songs with different mixes on the master two track. The mention of Hal Blaine playing on the early releases was told to me by Hal Blaine himself. Regards, Corey Corey Bailey Audio Engineering www.baileyzone.net Quote:
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