What is a "preproduction meeting?" Seriously, Billy and I were just always looking for new ways to do everything. There were a lot of overdubs here, for instance many of the tom rolls are doubled.Ĭan't remember how long I took in yesterday's session.I think we mixed one or two songs a day average. The rhythm was usually played with the band. The controls were all labelled in Spanish, and the logo was palm trees. Some, but some are also from BG's customised Marshall heads, which he renamed "Rio Grande" brand. During the mid point of the guitar walk-down/drum stop bit, Billy said "Goin' halfway round the world and back again." but we left that out, amongst many other things he said. There was one great one that I almost put in, and have always wished I had, into LaGrange. I reached back to the scratch for some of the "aside comments," such as "they gotta lotta nice girls there" in LaGrange. There were some scratch vocals used, but most were overdubbed. Tres Hombres came to me for overdubs and mixing. I wasn't at the original tracking, which was done at Robin Hood's Studios in Tyler, TX. It was a 16 tr 2" recording, mixed to 1/4".
#Early zz top license#
The console was our (Ardent's) custom designed SpectraSonics, built by Auditronics of Memphis under license from SpectraS in Utah. Thesoundguy wrote on Mon, 07 February 2005 22:19 Thanks for enduring my somewhat long list of questions I never imagined Id ever be able to ask the source. Was the master for Gimmie All Your Lovin VSO'd up a whole step? I have an original LP that definitley has a pitched up version, always wondered at which step along the way this occured. Leaving dusty's cough coming into the last verse is a righteous rock moment, more people should take note of stuff like that, the average engineer would have muted that. Were you involved in preproduction meeting for Tejas? If so, was there an intentional and motivated effort to take the record in a new direction, or did the sound of the record just simply result from the work flow?ĭo you recall if Ten Dollar Man was one of the fiirst songs tracked for this record or if it was recorded towards the end of the sessions? The snare drum move right before the DI guitar comes in absolutely gets me off every time I hear that song and is one of my favorite mix moments on all the zz records. The Fadeout on Beer Drinkers is about the most insanely perfect fadeout anyone could make.Īre we hearing mostly fender tweed amps on this record?ĭo you recall if during the tracking sessions, the guitar solos were played live with the rhythm tracks, or if the backing rhythm guitar over the solos went down with the band?ĭo you recall how long it took to track and mix? What kind of console was Tres Hombres mixed on? Im assuming this is a 16 track master mixed to 1/4"?Ĭan you comment on the drum setup on this record? Were they in a booth, or baffled in a larger room? Was the kit on a linoleum floor? Sounds a little brighter than carpet.Īssuming there were scratch vocals from the tracking sessions, were any used on the LP or are all the vocals overdubbed? That edit alone is worthy of a big space on the wall in the rock and roll hall of fame, put the master tape right up there.
The early catalog is rarely celebrated for the incredible recordings that they are, and its rare where Im from to be able to have any kind of sophisticated conversation about the band, I hope I dont scare you away with a barrage of questions:įirst off, the edit from Waiting For The Bus onto the one of Jesus has got to be the single most bestest greatest edit that any human has ever done with a razor blade. Its probably not worth me trying to convey what kind of influence the ZZTop catalog has been on me on various levels professionally, personally, whatever.
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