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Topic: Some classic, rare Noel Boggs |
Andy Volk
From:
Boston, MA
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Glenn Wilde
From:
California, USA
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Posted 25 Jun 2020 6:00 am |
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| Good stuff, kinda strange recording but great content. Thanks Andy. |
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Andy Volk
From:
Boston, MA
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Posted 25 Jun 2020 8:02 am
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It was done by Barcus Berry using a direct process with no amps or mics.
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Steel Guitar Books! Website: www.volkmediabooks.com |
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Doug Beaumier
From:
Northampton, MA
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Andy Volk
From:
Boston, MA
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Posted 25 Jun 2020 10:01 am
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Better sound and terrific playing by Eddie Bush on this 1960's release on the same label:
https://www.youtube.com/watch?v=q3Ngzb6jUyQ
All in all, the direct process has an immediacy but an airless quality to it that's not as good as mics and amps, IMHO.
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Steel Guitar Books! Website: www.volkmediabooks.com |
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Bill Hatcher
From:
Atlanta Ga. USA
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Posted 25 Jun 2020 10:26 am
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you can hear at 13 seconds that some goofy bass EQ gets turned on. the first bass note is fine and then the rap bass EQ starts. theres no telling what the person who put these on has done when the opportunity to click on an EQ setting and "improve" things.
in regards to the "direct" process. i would think that that means these were cut direct to disc, not necessarily direct inputs into a console. that process bypasses everything and you record right into the cutter head while it cuts the lacquer master. you have to record the ENTIRE side at one pass. better not mess up, or you have to start the whole thing over! |
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Nic Neufeld
From:
Kansas City, Missouri
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Posted 25 Jun 2020 10:34 am
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That first one is a fascinating record just in terms of record production. Works better with some kinds of instruments than others. The steel guitar sound, less to my taste but it mostly works. Bass sounds great. Strings sound almost synthesized. I guess it was great all this experimentation went on...people trying crazy stuff in recording studios is how lots of innovation happened.
Edit: The Eddie Bush one is obviously catering more to my musical tastes and some very nice playing there. Honestly of all the trends in Hawaiian steel guitarists working on the mainland in the 60s, LESS reverb is something I'm totally down with! There's an Alfred Apaka album where Jules seems to be playing with a thinner, drier tone than usual: https://www.youtube.com/watch?v=7VrZGs2ENbo
It kind of reminds me of the playing, or at least the sound, on that one. Some of those Apaka albums would end up smothered in reverb.
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Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me |
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Andy Volk
From:
Boston, MA
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Posted 25 Jun 2020 11:35 am
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Bill, I don't believe this was a Direct-to-Disc recording - those generally came later. According to Lee Jeffriess, "They are using Barcus Berry piezo contact mics instead of conventional microphones, on the Boggs recording he literally has early piezo bridge PU's on one of his Quads, the forerunner of the modern acoustic gtr bridge saddle transducer." AND ""The liner notes to the Repeat albums say "RECORDED WITHOUT THE USE OF MICROPHONES!" about a dozen times on the front and back covers. And the drums have that weird direct sound.
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Steel Guitar Books! Website: www.volkmediabooks.com |
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Doug Beaumier
From:
Northampton, MA
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Mitch Drumm
From:
Frostbite Falls, hard by Veronica Lake
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Posted 25 Jun 2020 3:30 pm
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As far as I know, the material on this Repeat LP had never been previously issued---although it may have sat in the can for years somewhere and simply re-processed in some way for this release.
Here's a review of it from the always hi-falutin' Audio magazine, December 1965.
Hope it's readable.
You'll be happy to know that the reviewer, one Chester Santon, advises us that the music "is just a shade removed from old fashioned hillbilly material".
Harumph. Does that give you the vapors?
My dictionary does not have a listing for "scrape-style". Does yours?
There's another Boggs LP on this label. And a single of "Solitude/Tuxedo Junction", but I can't recall if they sound as goofy as this LP.
In fact, I think this LP was released in 2 forms with different mixes--one of which sounds a lot better than the other.
Last edited by Mitch Drumm on 25 Jun 2020 4:03 pm; edited 2 times in total |
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Bill Hatcher
From:
Atlanta Ga. USA
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Posted 25 Jun 2020 3:40 pm
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| Andy Volk wrote: |
| Bill, I don't believe this was a Direct-to-Disc recording - those generally came later. According to Lee Jeffriess, "They are using Barcus Berry piezo contact mics instead of conventional microphones, on the Boggs recording he literally has early piezo bridge PU's on one of his Quads, the forerunner of the modern acoustic gtr bridge saddle transducer." AND ""The liner notes to the Repeat albums say "RECORDED WITHOUT THE USE OF MICROPHONES!" about a dozen times on the front and back covers. And the drums have that weird direct sound. |
got it! |
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Doug Beaumier
From:
Northampton, MA
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Posted 26 Jun 2020 8:46 am
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"Repeat" is the record company. It's interesting that the article points out the difference between instrument-to air-to microphone, and instrument-direct to transducer-to tape recorder. The result being a clean, direct sound... but not the natural room sound (via air) that we normally hear from instruments. It must have sounded a bit harsh to their ears. Nowadays direct recording can be softened in the final mix with compression, reverbs, delays, filters.
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Chris Clem
From:
California, USA
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Posted 27 Jun 2020 3:33 pm
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[quote]
| Quote: |
| "you can hear at 13 seconds that some goofy bass EQ gets turned on. the first bass note is fine and then the rap bass EQ starts. theres no telling what the person who put these on has done when the opportunity to click on an EQ setting and "improve" things" |
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Bill, I would like to respond to your comments since that is my YouTube channel and I did the transfer myself. I do NOT "click on an EQ setting and "improve" things" on my channel.Further more it is the Steel Guitar making that sound not some EQ. It is exactly the same on the LP as what is on my video......Chris |
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John Goux
From:
California, USA
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Posted 27 Jun 2020 5:31 pm
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Nice solo by Ray Lantham. LA was crawling with hot guitar players in the ‘50’s. Joe Maphis, Jimmy Bryant, Howard Roberts, and many of the “Country†players were accomplished jazz players as well.
I have a feeling this album was more a showcase for technology than for Noel.
John |
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