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PostPosted: Mon Jul 21, 2008 9:01 pm 
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Anybody know what kind of changes in set up TTG went through over the course of its existence? I just read that the engineers had installed a basically 'homemade' 12 track system in late '68 which FZ utilized for "Hot Rats" but what was in there prior to that?

Specifically how soon might 8 track recording been available? eg For the Animals' sessions in July '66 for "Animalism"?

Any authoritative data as to whether or not the Hendrix Experience did some recording there post-Monterey over June 28 29 30 '67?

Various Zappa-Hendrix tie-ins is one goal of my researches but delving into the scope & rate of advances in recording technologies East vs West coasts is the larger aim.

Bonus question: Anyone know anything about a "Houston Studios" that is said (by some) to've existed mid-to-late 60s in the L.A. area? I know TTG went by "Sunset" on occasion, might this "Houston" studio quasi-legend have a similar explanation?

TIA.


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PostPosted: Wed Jul 23, 2008 6:05 am 
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scoutship wrote:
Anybody know what kind of changes in set up TTG went through over the course of its existence? I just read that the engineers had installed a basically 'homemade' 12 track system in late '68 which FZ utilized for "Hot Rats" but what was in there prior to that?

A Scully 8 track and an API console.

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PostPosted: Wed Jul 23, 2008 10:37 am 
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Hmmm. Interesting. Got a whole lot of new cross-checking to do now, thanks for the info & treasure map, :wink: .


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PostPosted: Wed Jul 23, 2008 11:22 am 
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The Hot Rats booklet says 16 track?
frank had 24 track analog 1982 and 24 track digital 1984 was used for Drowning Witch on vol 3.

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PostPosted: Wed Jul 23, 2008 2:11 pm 
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> The Hot Rats booklet says 16 track? <

That is correct, sir; number overload I guess, my old 8 track cortex din't keep up with my hunt-n-peck digit. sys., looks like.

It was a "homemade sixteen track" recordificator those TTG engineers scotch-taped in.

Thanks for the nudge. :)


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PostPosted: Thu Jul 24, 2008 2:22 am 
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scoutship wrote:
> The Hot Rats booklet says 16 track? <

That is correct, sir; number overload I guess, my old 8 track cortex din't keep up with my hunt-n-peck digit. sys., looks like.

It was a "homemade sixteen track" recordificator those TTG engineers scotch-taped in.

Thanks for the nudge. :)
just to make sure :wink:

This was the first Frank Zappa album recorded on 16-track equipment and one of the first of such 16-track recordings released to the public. Recording machines with 16 individual tracks allow for much more flexibility in multi-tracking and overdubbing than the 4 and 8-track tape recorders that were standard in 1969. While Zappa was recording Hot Rats in Los Angeles, The Beatles were working on their Abbey Road album at EMI's soon to be famous Abbey Road Studios in London. By comparison, The Beatles were limited to 8-track technology. Hot Rats still stands out as one of Zappa's greatest musical and technological achievements.

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PostPosted: Thu Jul 24, 2008 3:41 am 
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in 2003 e german guy "Moritz Groß" make e booklet about "Aufnahmetechnik von Frank Zappa" --> recording techniques of frank zappa.

this interesting booklet is available her.
it has 18 pages and cost 5.99euro.

i got it at home and i will do e short review about the recording equipment.

just find e second book about "" frank zappa und seine musik im spiegel der moeglichkeiten moderner studiotechnik

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PostPosted: Thu Jul 24, 2008 7:59 am 
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In 1968 Ampex Corporation introduced the MM-1000, the first commercial 16-track recording machine. One of these machines was installed at CBS Studios in New York City where it was used to record songs for the second album by Blood, Sweat & Tears and The Boxer by Simon and Garfunkel both released in early 1969. 1968's "Crimson And Clover" by Tommy James and the Shondells was among the first sixteen-track recordings to be released (mixed to stereo and mono); another was Frank Zappa's 1969 album Hot Rats. (A 1987 remix of the opening track, Peaches En Regalia, became the first compact disc single, years later.) Another early 16 track recording was Volunteers by Jefferson Airplane also from 1969. The back of the Jefferson Airplane album cover includes a picture of the MM-1000.
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PostPosted: Thu Jul 24, 2008 8:50 am 
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according to "Aufnahmetechnik von Frank Zappa":

studio z 1964, 5-track recording (build by paul buff?)
lumpy gravy, apostolic studios, new york 12-track
hot rats, first overdub's, 16-track
waka/jawaka, 24-track, paramount studio

1979 finisch the work on studio UMRK after that, all digital
the london symphony orchestra vol.1, 24-track digital

mixonline about frank's recordingtechnologie --> http://mixonline.com/recording/business/audio_mothers_sound/

special technic of frank was XENOCHRONY --> http://en.wikipedia.org/wiki/Xenochrony

interview with bob marshall --> http://www.science.uva.nl/~robbert/zappa/interviews/Bob_Marshall/Part07.html

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PostPosted: Thu Jul 24, 2008 9:55 am 
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Basel wrote:
according to "Aufnahmetechnik von Frank Zappa":

studio z 1964, 5-track recording (build by paul buff?)
lumpy gravy, apostolic studios, new york 12-track
hot rats, first overdub's, 16-track
waka/jawaka, 24-track, paramount studio

1979 finisch the work on studio UMRK after that, all digital
the london symphony orchestra vol.1, 24-track digital

mixonline about frank's recordingtechnologie --> http://mixonline.com/recording/business/audio_mothers_sound/

special technic of frank was XENOCHRONY --> http://en.wikipedia.org/wiki/Xenochrony

interview with bob marshall --> http://www.science.uva.nl/~robbert/zappa/interviews/Bob_Marshall/Part07.html
Zappa moved to New York's Mayfair and Apostolic 8-track studios for most of We're Only In It For the Money.
http://mixonline.com/recording/business ... ers_sound/
Top of 6th paragraph

I can't see Lumpy Gravy haveing more track studio?

Edit the UMRK must had gone digital around 1982-1984 same time as LSO.

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PostPosted: Thu Jul 24, 2008 12:48 pm 
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i can help you: thanks to aunt google: [url=http://www.astrococktail.com/Apostolic.html]The story of the recording studio that became Frank Zappa's New York downtown playground!
Apostolic[/url]

(A personal reminiscence originally published in EQ Magazine, 1998 as
"Laid-Back Multitrack: The Downtown Birth of Modern Recording Studio Style")

writen by " John Townley, founder "

first he write how he start working
Quote:
....... but first, a flashback to when I was recording for Columbia back in '65...................

...there were only eight tracks to work with (you wonder how the Beatles survived so well on that -- lots of money/time helped), and there was no separate cue system for overdubbing (honest!), .........


his start with his own studio
Quote:
By the fall of '66, I'd had it with group, recording, and first marriage, so I took some money from a small inheritance and idealistically launched out to CHANGE IT ALL... What was amazing -- I did!

First, I picked a downtown location, in the Village, as that's where all the musicians were. Be where you're comfortable. After all, only the execs were uptown. It was a loft building on 10th St. near Broadway,


his multitrack
Quote:
.....And, of course more tracks (how quickly you run out at only eight) -- we went to twelve because that was as many as Scully could crowd onto a relatively-editable one-inch tape transport in this first-of-a-kind machine they built to our specs. And faders, instead of pots (goodbye '50s sci-fi flicks), also a first, and the new-fangled solenoids...best of all, everyone could touch them all, no union, except don't spill your Coke on the board! All that, and teenage whiz engineer Tony Bongiovi (later, brother/producer of Jon Bonjovi) were enough to launch us into the ozone............


and frank finished the work on "lumpy gravy" februar 1967

and at least : "Richard Kunc, former Apostolic Studios engineer"

about the console:
Quote:
I recall the API console as a sea of blue Formica, a wondrous machine praised by Frank Zappa, with sparkling new arc-shaped British Painton faders..............


and the recording machine
Quote:
The prototype Scully twelve-track machine used one-inch tape. It had twelve sets of their normal full-size rack-mounted electronics, the ones they put in their mono and two track machines -- imagine twelve of those babies, each one with a complete set of knobs and full-size meter! It was just huge -- but it worked........


and: tata tata tata

the lyrics from: the dick kunc story, e piece you find on "the lost episode"

Quote:
............So I went to New York, and I got this job at this incredible twelve track studio. Well, I didn't know from twelve track, I thought four track was really hot stuff. So I went in there and they said, "Here's the board. Learn it." He go, "Your first client's coming in in five minutes." Well, my first client was Frank Zappa........


and here it is: the 12 track:

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also interesting: the story about the studio name (in the comments section)
Quote:
As a contrast to the Department of Sound & Recording at the University of Surrey here is a quote from Barry Miles about recording Allen Ginsberg in New York in the late 1960s:

Apostolic Studio (at 53 East 10th Street) was named after its tape machine, a prototype twelve-track Scully about six feet long. The rates were reasonable - $95 an hour and $115 an hour after midnight - because everyone had said that no one would go downtown to record. The studio had an in-house astrologer who sometimes decided that the signs were so bad that no recording should be done that day.



well, i did not now all this, but you found almost everything on the net

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PostPosted: Thu Jul 24, 2008 2:40 pm 
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Basel wrote:
i can help you: thanks to aunt google:


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NO Thanks

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