MUS 6 Lecture Notes - Lecture 11: Johnny B. Goode, Willie Dixon, Pocket Symphony
Lecture 11 – Inside and Outside the Studio Pt. 2
❖ Histories of Studio Recording Practices
• Early Studio Recording CA, 3’s
o The reord produer as, aoe all, a talet sout. I the studio the
usi as reorded as aturall as possile, as i a lie perforae.
With the technology available it could not be altered appreciably; there
were a few microphones in the studio.
• Joh B Goode, Chuk Berr
o Collaborators – Willie Dixon (bass), Muddy Walters (guitar), and Buddy
Guy
o Production:
▪ 2 microphones in a room
▪ Instruments placed based on loudness and other characteristics
▪ Mix is Monophonic – no difference in sound coming out of left
and right speakers
▪ Space is in mix, how is this possile if it’s oo?
✓ You can hear the sound in the room and how far/close
each instrument it – you get depth in that sense
• Developments in Recoding
o Multi-track recorder
▪ Possible to record song in layers on multi-track tape
• Production Decisions
o Working with studio musicians and composers, what kind of collaborative
dynamic?
o Instrument choices
o Microphone placement and choice
o Effects (reverb, echo, chamber?)
o Reordig oto traks… All istruets together or i groups? Laerig?
• ’s Phil “petor and George Marin
o Ne edg ethods of produtio
o Phil Spector: Wall of Sound (saturated mixes)
o George Marti: resposile for uusual arrageets of Beatles’ tues
o Role became akin to a film director with a unique style
• “petor’s Wall of soud
o Wanted to make an ideal sound for radio
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