15 Feb
2006
15 Feb
'06
1:02 p.m.
On Wed, Feb 15, 2006 at 11:08:21AM -0500, Dan Easley wrote:
On 2/15/06, Brad Fuller <brad(a)sonaural.com>
wrote:
yeah, I believe they commonly would fill up one 4-track, then bounce
it to one or two tracks of their other 4-track, fill that one up, and
do it again. man, i just wasn't made for those times.
Yes. You had to be really, really good at creating submixes,
because once you'd comitted to one, you couldn't do it over
without throwing away all your later work.
It helped that these 4-track machines were then state-of-the-art
reel-to-reel devices. If you tried all that bouncing on a
cassette portastudio, it'd sound like utter crap real quick.
All hiss and no treble makes your mix a dull bore.
The other trick the Beatles had up their sleeve was
one of their engineers invention of automatick doubling:
http://en.wikipedia.org/wiki/Automatic_double_tracking
Of course, the real pioneer of all this stuff was Les Paul.
He was bouncing eight guitar parts in 1947 on wax discs.
He invented and paid for Ampex to build him an eight-track reel to reel
overdub-capable machine in 1954. Nobody else had eight tracks
until the mid sixties.
--
Paul Winkler
http://www.slinkp.com
What's amazing to me is that they didn't have access to an 8-track
until the White Album. Listen to something like
"I Am the Walrus" or "Tomorrow Never Knows" and imagine creating that
on
a 4-track.
perhaps bouncing was their friend.