Not sure there is a site but we can do some conjecture if your're up for it.
CSN&Y say around 1969, Woodstock was their first gig, so the available compressors at that time were
1176
LA2A
RCA BA6A
Gates STA-Level
Altec
Fairchild
I would imagine Neumann U47, U67 would be the primary vocal mic but I read many years ago they tracked a few tunes with SM57s.
They were on the West Coast so MCI, Western Electric, maybe NEVE. There used to be a real popular line which is out of business now, can't remember the name of the console, that was in a lot of older studios.
OK, I tracked this down at Mix Magazines site.
Studio C, which Barncard once described as “ground zero for so many great records,” was simply equipped by today's standards. The custom console, designed and built by Heider associate Frank DeMedio, had 24 channels, eight buses and Gotham faders that went up and down in 2dB steps. DeMedio favored plug-in line amps made by United Audio and passive Universal Audio EQs on the way to the line amps. “It was really an incredibly well-built and simple thing,” Barncard says of the console. The monitor speakers in the small control room were Altec 604s. For outboard gear, “We had four 1176s in every room, two LA-2As, two Pultecs in portable cases that got moved around from room to room, this crappy-sounding Altec graphic [EQ] and some totally useless Lang equalizers,” he says. “And that was about it. We also had a Univibe for guitarists and also a Countryman phaser, which I used horribly on Van Morrison's ‘Wild Night.’” Barncard describes the echo chamber at Heider's as “probably the best chamber I've used anywhere, anytime. It was magic. That's what you hear on Garcia's pedal steel on ‘Laughing.’ What I would do is print the echo on guitars and some other instruments. I took a lot of risks — sometimes because I just wanted to and sometimes because I was young and didn't know any better.”
The studio had one of the first Ampex MM1000 16-tracks ever built, but Barncard preferred the 3M 16-track. “Everything I ever recorded on 3M [Scotch] tape is still playable today and sounds great. Every piece of Ampex tape I used in the '70s turned into glue and stops the tape.”
.....For miking, Barncard used a relatively straightforward scheme: “On drums, I probably only used four mics — [Shure] 57s on the kick and the snare and [Sony] C37Ps as overheads, which also picked up the hi-hat and toms. I sometimes used [Neumann] 67s as overheads, too.” Garcia's and Crosby's guitars were captured by single 57s on each player's amp, but Lesh's beefy bass sound came from a combination of mics on two different amps — one large for more low end and a smaller one for the high-end part of his sound.”
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The whole article is here. mixonline.com/mag/audio_david_crosbys_laughing/index.html
