Actually Togg, on the MIH material, there were times when they recorded a live backing track. Mother Love being the main example I remember from Dave Richards.
Adam.
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Look, i'm not saying the whole of any album was done one way or the other, i am simply stating that they used multiple approaches to recording a track on many if not most of the albums.
Some of the tracks on MIH were originally done live, then later scraped completely or they did indeed use the backing track, most of it as we know was recorded separately, the bulk of it by Brian much later on, and sure some of it is still the original live takes from long distant sessions.
My point here is there are dozens of tracks recorded throughout their career in ways other than all playing live.
Some of the tracks on MIH were originally done live, then later scraped completely or they did indeed use the backing track, most of it as we know was recorded separately, the bulk of it by Brian much later on, and sure some of it is still the original live takes from long distant sessions.
My point here is there are dozens of tracks recorded throughout their career in ways other than all playing live.
Yeah thats right. But that certainly wasn't the case before drum machines were used.
Except on some stuff where they used looping. For example the drums in Dragon Attack and Coming Soon where looped. But in the 80's a lot of stuff was recorded on top of drum machines and bass synthesizers (which where probably recorded as a demo rather than a real part of the music) and then a lot of stuff was reecorded on top of it (drums, piano, bass etc)
Except on some stuff where they used looping. For example the drums in Dragon Attack and Coming Soon where looped. But in the 80's a lot of stuff was recorded on top of drum machines and bass synthesizers (which where probably recorded as a demo rather than a real part of the music) and then a lot of stuff was reecorded on top of it (drums, piano, bass etc)
Do you know if the drums were looped on Another one bites?
When you say "it wasn't the case before drum machines were used"
Take a track like 'Fun it' now I doubt that was done live, but I guess it could have been.
When you say "it wasn't the case before drum machines were used"
Take a track like 'Fun it' now I doubt that was done live, but I guess it could have been.
[QUOTE][QUOTENAME]Togg wrote: [/QUOTENAME]Do you know if the drums were looped on Another one bites?
When you say "it wasn't the case before drum machines were used"
Take a track like 'Fun it' now I doubt that was done live, but I guess it could have been.[/QUOTE]
I've heard Roger say on several occasions that the very tight beat on ABTD was really hard to reproduce in a live environment. That either means the studio part was a one off, or he was using a drum machine, although I seriously doubt drum machines sounded that natural in 1980.
When you say "it wasn't the case before drum machines were used"
Take a track like 'Fun it' now I doubt that was done live, but I guess it could have been.[/QUOTE]
I've heard Roger say on several occasions that the very tight beat on ABTD was really hard to reproduce in a live environment. That either means the studio part was a one off, or he was using a drum machine, although I seriously doubt drum machines sounded that natural in 1980.
I'm sure I heard Roger say AOBTD was a loop of his playing. Anyone care to confirm that?
Adam.
Adam.
I think Bites the Dust is looped. I don't have the track here so I can't check.
As for Fun It. I think it's live with some electronic drums overdubbed.
As for Fun It. I think it's live with some electronic drums overdubbed.
Before Hot Space backing tracks usually consisted of guitar, bass and drums or piano, bass and drums. Some exceptions would be Best Friend, Sheer Heart Attack and others.
From Hot Space onwards it was mostly the creator of the song making a demo and then they all (or some) replaced the parts.
AOBTD is indeed a loop, Brian commented it in 1993 when he spoke about Rock You, Killer Queen, Bo Rhap and AOBTD. Several other tracks from Game/HS are loops.
From Hot Space onwards it was mostly the creator of the song making a demo and then they all (or some) replaced the parts.
AOBTD is indeed a loop, Brian commented it in 1993 when he spoke about Rock You, Killer Queen, Bo Rhap and AOBTD. Several other tracks from Game/HS are loops.
I can remember at the time Roger admitting there were loops used but he would always stop short of admitting which tracks, not that it was difficult to guess.
I listened back last night to the Bo Rap doc, it really was impressive how they got such a great sounding backing track on the multitrack without over processing it. The drums in particular sounded so close to the final version. Brian comments on how many room mics they used for them, it would be wonderful to see a diagram of where they were placed.
I also understand that they recorded drum for ANOTO in several studios, Rockfield being the main one I believe, which begs the question did they re-do parts of the backing tracks in other studios? I know that I have heard there where points in the recording when they were working in several studios at once, can that be correct?
I listened back last night to the Bo Rap doc, it really was impressive how they got such a great sounding backing track on the multitrack without over processing it. The drums in particular sounded so close to the final version. Brian comments on how many room mics they used for them, it would be wonderful to see a diagram of where they were placed.
I also understand that they recorded drum for ANOTO in several studios, Rockfield being the main one I believe, which begs the question did they re-do parts of the backing tracks in other studios? I know that I have heard there where points in the recording when they were working in several studios at once, can that be correct?
The recording began at Rockfield Studio 1 near Monmouth on August 24, 1975.
After a three week rehearsal period in Herefordshire. During the making of the track, however, a further four studios -- SARM (East), Scorpion, Wessex and Roundhouse were used.
They recorded the backing track in three sections at Kingsley Ward's Rockfield Studios.
So they didn't record the whole song all the way through. They did it in three seperate bits. They left a 30 second gap (for the opera bit Freddie wanted) on the reel for later use (They didn't even know for sure if it was ever going to be used) The the end rock section was recorded as a separate song.
Later they transfered to Scorpion Studios in London and SARM for work on the guitar overdubs and vocals. Because of all the vocals the end part was difficult. They recorded the basic backing track of drums, bass, piano and guitar. Then they did the backing vocals. Normally they recorded the lead vocals first (since it dictates the phrasing of the backing vocals) but they didn't do it like that with this song
After a three week rehearsal period in Herefordshire. During the making of the track, however, a further four studios -- SARM (East), Scorpion, Wessex and Roundhouse were used.
They recorded the backing track in three sections at Kingsley Ward's Rockfield Studios.
So they didn't record the whole song all the way through. They did it in three seperate bits. They left a 30 second gap (for the opera bit Freddie wanted) on the reel for later use (They didn't even know for sure if it was ever going to be used) The the end rock section was recorded as a separate song.
Later they transfered to Scorpion Studios in London and SARM for work on the guitar overdubs and vocals. Because of all the vocals the end part was difficult. They recorded the basic backing track of drums, bass, piano and guitar. Then they did the backing vocals. Normally they recorded the lead vocals first (since it dictates the phrasing of the backing vocals) but they didn't do it like that with this song
[QUOTE][QUOTENAME]FriedChicken<br><font size=1>The Almighty</font> wrote: [/QUOTENAME]The recording began at Rockfield Studio 1 near Monmouth on August 24, 1975.
After a three week rehearsal period in Herefordshire. During the making of the track, however, a further four studios -- SARM (East), Scorpion, Wessex and Roundhouse were used.
They recorded the backing track in three sections at Kingsley Ward's Rockfield Studios.
So they didn't record the whole song all the way through. They did it in three seperate bits. They left a 30 second gap (for the opera bit Freddie wanted) on the reel for later use (They didn't even know for sure if it was ever going to be used) The the end rock section was recorded as a separate song.
Later they transfered to Scorpion Studios in London and SARM for work on the guitar overdubs and vocals. Because of all the vocals the end part was difficult. They recorded the basic backing track of drums, bass, piano and guitar. Then they did the backing vocals. Normally they recorded the lead vocals first (since it dictates the phrasing of the backing vocals) but they didn't do it like that with this song
[/QUOTE]
Source: Wikipedia.
:P
After a three week rehearsal period in Herefordshire. During the making of the track, however, a further four studios -- SARM (East), Scorpion, Wessex and Roundhouse were used.
They recorded the backing track in three sections at Kingsley Ward's Rockfield Studios.
So they didn't record the whole song all the way through. They did it in three seperate bits. They left a 30 second gap (for the opera bit Freddie wanted) on the reel for later use (They didn't even know for sure if it was ever going to be used) The the end rock section was recorded as a separate song.
Later they transfered to Scorpion Studios in London and SARM for work on the guitar overdubs and vocals. Because of all the vocals the end part was difficult. They recorded the basic backing track of drums, bass, piano and guitar. Then they did the backing vocals. Normally they recorded the lead vocals first (since it dictates the phrasing of the backing vocals) but they didn't do it like that with this song
[/QUOTE]
Source: Wikipedia.
:P
[QUOTE][QUOTENAME]Togg wrote: [/QUOTENAME]I listened back last night to the Bo Rap doc, it really was impressive how they got such a great sounding backing track on the multitrack without over processing it. The drums in particular sounded so close to the final version.[/QUOTE]
That's certainly due to something I now believe in. If you don't record it to sound a specific way in the beginning, you're setting yourself up for a lot of work and possibly not even being able to achieve the sound you might have wanted in the first place!
There are two ways of thinking when recording, 1, getting -A- sound to tape and then shaping it to how you want and 2, getting -THE- sound you want recorded, leaving very little processing needing done afterwards.
Adam.
That's certainly due to something I now believe in. If you don't record it to sound a specific way in the beginning, you're setting yourself up for a lot of work and possibly not even being able to achieve the sound you might have wanted in the first place!
There are two ways of thinking when recording, 1, getting -A- sound to tape and then shaping it to how you want and 2, getting -THE- sound you want recorded, leaving very little processing needing done afterwards.
Adam.
Which would help explain the drum sound changing for the end part, as Brian said they wanted a more open sound on the drums for the rock section so maybe another studio helped achieve that.
[QUOTE][QUOTENAME]<b><font color="#FF1493">The Fairy King wrote: [/QUOTENAME][QUOTE][QUOTENAME]FriedChicken<br><font size=1>The Almighty</font> wrote: [/QUOTENAME]The recording began at Rockfield Studio 1 near Monmouth on August 24, 1975.
After a three week rehearsal period in Herefordshire. During the making of the track, however, a further four studios -- SARM (East), Scorpion, Wessex and Roundhouse were used.
They recorded the backing track in three sections at Kingsley Ward's Rockfield Studios.
So they didn't record the whole song all the way through. They did it in three seperate bits. They left a 30 second gap (for the opera bit Freddie wanted) on the reel for later use (They didn't even know for sure if it was ever going to be used) The the end rock section was recorded as a separate song.
Later they transfered to Scorpion Studios in London and SARM for work on the guitar overdubs and vocals. Because of all the vocals the end part was difficult. They recorded the basic backing track of drums, bass, piano and guitar. Then they did the backing vocals. Normally they recorded the lead vocals first (since it dictates the phrasing of the backing vocals) but they didn't do it like that with this song
[/QUOTE]
Source: Wikipedia.
:P[/QUOTE]
No funny guy, I just typed it myself. The source is Roy THomas Baker
After a three week rehearsal period in Herefordshire. During the making of the track, however, a further four studios -- SARM (East), Scorpion, Wessex and Roundhouse were used.
They recorded the backing track in three sections at Kingsley Ward's Rockfield Studios.
So they didn't record the whole song all the way through. They did it in three seperate bits. They left a 30 second gap (for the opera bit Freddie wanted) on the reel for later use (They didn't even know for sure if it was ever going to be used) The the end rock section was recorded as a separate song.
Later they transfered to Scorpion Studios in London and SARM for work on the guitar overdubs and vocals. Because of all the vocals the end part was difficult. They recorded the basic backing track of drums, bass, piano and guitar. Then they did the backing vocals. Normally they recorded the lead vocals first (since it dictates the phrasing of the backing vocals) but they didn't do it like that with this song
[/QUOTE]
Source: Wikipedia.
:P[/QUOTE]
No funny guy, I just typed it myself. The source is Roy THomas Baker
[QUOTE][QUOTENAME]Adam Baboolal wrote: [/QUOTENAME][QUOTE][QUOTENAME]Togg wrote: [/QUOTENAME]I listened back last night to the Bo Rap doc, it really was impressive how they got such a great sounding backing track on the multitrack without over processing it. The drums in particular sounded so close to the final version.[/QUOTE]
That's certainly due to something I now believe in. If you don't record it to sound a specific way in the beginning, you're setting yourself up for a lot of work and possibly not even being able to achieve the sound you might have wanted in the first place!
There are two ways of thinking when recording, 1, getting -A- sound to tape and then shaping it to how you want and 2, getting -THE- sound you want recorded, leaving very little processing needing done afterwards.
Adam.[/QUOTE]
The first time I worked in a professional recording studio was 1984 in those days you had no pitch correction and what you put on tape was what you got back, I was too naive to understand that I was not going to get that killer sound in the post production, (the eighties were very much based around electronic sounds)so when it came time to do that I was somewhat disappointed, the next time I got a much better result first time. Ever since then I have tried whenever possible to do as much without little boxes.
That's certainly due to something I now believe in. If you don't record it to sound a specific way in the beginning, you're setting yourself up for a lot of work and possibly not even being able to achieve the sound you might have wanted in the first place!
There are two ways of thinking when recording, 1, getting -A- sound to tape and then shaping it to how you want and 2, getting -THE- sound you want recorded, leaving very little processing needing done afterwards.
Adam.[/QUOTE]
The first time I worked in a professional recording studio was 1984 in those days you had no pitch correction and what you put on tape was what you got back, I was too naive to understand that I was not going to get that killer sound in the post production, (the eighties were very much based around electronic sounds)so when it came time to do that I was somewhat disappointed, the next time I got a much better result first time. Ever since then I have tried whenever possible to do as much without little boxes.