Post by CountryCrock on Jan 7, 2024 17:24:29 GMT
209MB
mega.nz/file/pDFRWY7Z#aSBbXJTR-Yg_Zdcj3YSR-YV2Mz4WaABSmbZt6H5mbdo
Herb's hauntingly-arranged, 1962 instrumental rendition...intended as a "tribute" to the then-popular Everly Brothers' cover.
One cannot really do anything about the intrusive background hiss level, though; as a lot of it is, actually, from the condition of the studio master source itself than it is residual noise on the consumer tape stock the reel was duplicated with (the hiss level suddenly drops precipitously between tracks where leader tape would've been spliced in at four-second intervals).
I mean: the album this is from, probably?, cost no-more than $5000 *total* to produce...when, Herb was in the infancy of trying to launch a career (which, eventually, did develop into "Beatle-esque" proportions in the 'States THREE YEARS' LATER: with the "WHIPPED CREAM" album in 1965) and cobbled eleven other songs together to bolster the surprising novelty hit title tune "The Lonely Bull" (this flurry of recording activity all would have happened around the time of the Cuban Missile Crisis in '62).
The entire LONELY BULL album was/is very much a "handmade-sounding" listening experience. Whether the oddball "stereo" overdubbs (where: you'll often think one channel just "drops out" when there's no additional second trumpet part); the clearly audible background noises in whichever room a track was being recorded, of people sounding like they're scrambling for their sound effect/accompanying instrument to play "on cue"; or: the way there's a slight phase error in the sound quality between the way the trumpet was recorded vs. the way the rhythm section was recorded (because: Herb did most of the trumpet work on two mono Ampex 400 machines synced together, literally, in his garage -for this album- then...he'd have to create a combined stereo two-track mixdown on the Ampex 350 machine at the facility of the studio -Conway Recorders- he'd been renting for recording time when the "rest of the band" laid-down their rhythm sessions --- obviously, that piecemeal production left a lot of the alignment variations of the equipment sonically apparent in the end result).
But, hey?: you try to remove or "clean" that up, and it ruins the charming and historical nature of the recording.
(the atmospheric guitar embellishments were played by Wrecking Crew legend Billy Strange)
i.postimg.cc/W3NJ9y7x/Screenshot-20240107-100621-Gallery.jpg
i.postimg.cc/CMffcbCh/Polish-20231229-175747733.jpg
i.postimg.cc/RZ3rtV5D/Polish-20240104-213546182.jpg
mega.nz/file/pDFRWY7Z#aSBbXJTR-Yg_Zdcj3YSR-YV2Mz4WaABSmbZt6H5mbdo
Herb's hauntingly-arranged, 1962 instrumental rendition...intended as a "tribute" to the then-popular Everly Brothers' cover.
One cannot really do anything about the intrusive background hiss level, though; as a lot of it is, actually, from the condition of the studio master source itself than it is residual noise on the consumer tape stock the reel was duplicated with (the hiss level suddenly drops precipitously between tracks where leader tape would've been spliced in at four-second intervals).
I mean: the album this is from, probably?, cost no-more than $5000 *total* to produce...when, Herb was in the infancy of trying to launch a career (which, eventually, did develop into "Beatle-esque" proportions in the 'States THREE YEARS' LATER: with the "WHIPPED CREAM" album in 1965) and cobbled eleven other songs together to bolster the surprising novelty hit title tune "The Lonely Bull" (this flurry of recording activity all would have happened around the time of the Cuban Missile Crisis in '62).
The entire LONELY BULL album was/is very much a "handmade-sounding" listening experience. Whether the oddball "stereo" overdubbs (where: you'll often think one channel just "drops out" when there's no additional second trumpet part); the clearly audible background noises in whichever room a track was being recorded, of people sounding like they're scrambling for their sound effect/accompanying instrument to play "on cue"; or: the way there's a slight phase error in the sound quality between the way the trumpet was recorded vs. the way the rhythm section was recorded (because: Herb did most of the trumpet work on two mono Ampex 400 machines synced together, literally, in his garage -for this album- then...he'd have to create a combined stereo two-track mixdown on the Ampex 350 machine at the facility of the studio -Conway Recorders- he'd been renting for recording time when the "rest of the band" laid-down their rhythm sessions --- obviously, that piecemeal production left a lot of the alignment variations of the equipment sonically apparent in the end result).
But, hey?: you try to remove or "clean" that up, and it ruins the charming and historical nature of the recording.
(the atmospheric guitar embellishments were played by Wrecking Crew legend Billy Strange)
i.postimg.cc/W3NJ9y7x/Screenshot-20240107-100621-Gallery.jpg
i.postimg.cc/CMffcbCh/Polish-20231229-175747733.jpg
i.postimg.cc/RZ3rtV5D/Polish-20240104-213546182.jpg