Drums out of one speaker

  • Thread starter Thread starter aaronmcoleman
  • Start date Start date
aaronmcoleman

aaronmcoleman

The truth is out there!
I'm about to do a couple of covers of some Bob Dylan songs off of Blonde on Blonde. Most of the drums come out of one speaker, pretty much like the Beatles stereo stuff.

How did they record those drums, was it all mono, or a stereo mix mixed down to mono, two overheads, or one...would this be the same as recording a mono drum mix?

Thanks a lot.
 
If you look at pictures taken at various points during the 60s, more often than not, you'll only see one overhead and a bass drum mic. The recorders they used had more inputs than tracks, I guess. Abbey Road was the first time the drums were actually 'stereo' on Beatles stuff {though they may feature on the White album's latterly recorded tracks}.
They used to mix the drums {and other instruments} as they went along so alot of committing and balancing had to be done in a way that seems rarely done these days.
 
There was some funny things happen with stereo around the time of the very early Beatles, the first recordings were done to 2 track, the instruments were mixed live to 1 track and the vocals live to the other track. George Martins idea was that you could mix the vocal level and the instrument mix later to mono. A lot of the releases in the UK were mono, however in the USA Stereo had taken off and the US labels demanded stereo, the only thing that George Martin could do was give them a stereo mix with the instruments on 1 side and the vocals on the other. He was not happy about this. That is why there are mono releases and stereo releases of the same album.

The later albums were done on 4 track, with the drums mixed to one track, the 4 track recordings were then bounced to 1 track on another 4 track machine and 3 more tracks added. When they set up the stereo later the drums often ended up on one side. There was something neat about the separation on these albums and it's a shame that convention now dictates that it is not done. I did work on a project a few years ago where we mixed the drums and bass to one side and the guitars and vocals to the other.

Just a side note: the first Beatles 8 track recording was Let It Be, George Martin did not produce it and one of the reasons was that the 8 track the Beatles wanted to use did not sound as good as the 4 tracks they had been using at Abbey Road. I think that the Abbey Road album was 8 track (George is now back in the driving seat) but a much improved machine.

Cheers
Alan.
 
There was some funny things happen with stereo around the time of the very early Beatles...

Ah, yes, the not-so-good old days of early stereo. In retrospect, it seems odd the ways stereo was "done" back then, but I remember thinking, at the time, how cool it was to have the instruments come out of one speaker, the vocals out of the other. Hey, it made for easy "karaoke" before karaoke even existed! :)
 
Yeah, I think it's kinda cool...sometimes. For stuff that was done then it is cool, if it were used today, I think it would sound a little cheesy and forced.

If I get a good sound out of this project, I want to try some mono drums, and panning drums and bass to one side for a part of a song.

And thanks for the interesting history lesson Alan. So the drums being on one side was less a matter of artistic taste and more due to technology and label demands???
 
Actually some of that history is a little incorrect. The first 8-track stuff was what was recorded at Trident. So Hey Jude, I believe, was the first Beatles 8-track (before the White Album I believe). While Let it Be was in production, it was produced by George Martin (when it was called Get Back), and was recorded at Apple, and I think it was done at 8-track but not 100% positive. Abbey Road itself finally got 8-track, and, well, the Abbey Road album was recorded there on the 8-track.

Phil Spector salvaged Get Back, produced Let it Be, and got the credits for it. Granted it ended up being his project and thus that credit is valid, Mr. Martin was kinda peeved he didn't get an Associate Producer credit or anything out of it. He got nothing.
 
Yeah, 'Hey Jude' was done on the 8 track at Trident studios {on my delivery rounds, I have to do this awkward drop that takes me regularly past the former location of Trident} in the midst of the album sessions of the White album. Beatle singles that were never intended to go on albums had regularly been recorded during album sessions over the years, going right back to 'I want to hold your hand' in '63 during the "With the Beatles" sessions. Anyway, when Ringo left the band during the recording of the White album, the other 3 went to Trident to record "Dear Prudence" in August '68 and that experience made them want all their songs recorded on 8 track.
One of their chief complaints about EMI was their antiquated equipment and they were constantly grizzling about not having 8 track facilities. What they didn't know throughout that August was that EMI had bought an 8 track and it was being tested by Francis Thompson who was the top tester of recording gear at EMI in those days. Eventually, they caught wind of the fact that there was one lurking about the building and because their sessions were all nighters, they used to use it unauthorized, whisking it from Thompson's office. It was 3M model. Some of the engineers that were in collusion with the band nearly got sacked for their actions. "While my guitar gently weeps" was the first one to be recorded on the 3M at EMI, also "Birthday", "Piggies", "Happiness is a warm gun", "Savoy Truffle", "Martha my dear", "I'm so tired", "Bungalow Bill", and possibly a few others. Some were originally recorded on four track then transfered to 8 for overdubbing.
Most if not all of the 'Let it be' album would appear to have been 8 track as the band had to borrow the 3M and two 4 track consoles from EMI when the 72 track promised to them by an 'electronics whizz' of the acid age {ie, all mouth, no fulfillment} turned out to be a disaster and was sold for scrap for £5.
 
You could be right about the Let It Be recordings, I was going from memory and some missinformation was around at the time,

Slightly off track, have a listen to the Who Live At Leeds (original master / mix) they paned the guitar one side and the bass the other, it sounds great. You can hear every note of the bass and the guitar, drums arwe everywhere as we are talking Keith Moon

Alan
 
Back
Top