Some of us slutz have been debating for decades how much human and how much Wendell there is on the "Gaucho" album.
It is now the new millineum of Sound Replacer and Drumagog. Can you settle this once and for all? In particular for me, the drums on "Babylon Sisters" sound so clean and isolated... was there any trickeration involved in that mix? However you did it, it is maddeningly awesome-sounding!
Hi Elliot an Al Schmitt
Me too...these records and these sessions have held such an air of secrecy!
Such great work you have done..such a great legacy for us all..so many songs and tracks that We all love...
But the Dan sessions seem to set a new level of studio awareness and the stories become like chinese whispers until we never really know for sure who played what and stuff!
What was the studio vibe like..I seem to have an impression of a really tough date for the musicians who were dispatched without a word if the takes were not the one.
What was it like to work with them at their best..and worst (if you are at liberty to remember!)
As a frustrated drummer..I have to ask how it was to record the young Steve Gadd as he laid down some of the deepest grooves of the times?
Did he ever miss a beat?
Al Schmitt...Really enjoyed watching your interview on 'record production.com'
Vary best wishes.
Hi guys....Babylon Sisters was a live track with no replacements or punches. Bernard played it live and it had no edits. The Wendel tracks on the Gaucho were Hey Ninteen, My Rival and Glamour Profession. Bernard was always a pleasure to record. Never a problem for me to get isolation on his kit.
There were many incarnations of bands for the Gaucho. I'll bet that each song was played by 5 or 6 bands until they got what they wanted. In the Case of Gaucho, Jeffrey Porcaro recorded that and it took about 12 hours with Donald and Walter having left about 5 hours into it. Gary Katz believed that he could get a drum track from Jeff so the rest of the band stayed with that thought in mind. They all played just to give Jeff input. Victor Feldman left after about 10 hours. After the guys left there was another 6 hours of editing 2" tape. The good thing was that Donald and Walter loved ot so it made the effort worthwhile.
As far as I can remember, Steve Gadd played on only two Steely Dan cuts. (Aja & Black Cow) Two incredible performances and as you know, Aja was the first take.
OK, well I put down the sticks and headed to the other side of the glass out of frustration trying to play that groove as he played it.
Now I guess it's time for ANOTHER career change. I don't know how you did it!
In all seriousness, it is an inspiring recording and mix.
Thanks so much for sharing your time with us!
(Jeffrey Porcaro recorded that and it took about 12 hours)
So...any comments on that session?
Would that have been for one track or were there several tracks in that time?
Was it at all stressful?
When these guys were on a roll..what were the criteria for doing another take..?
I can imagine that they played it down again and again but I also imagine that each take was really special when the right line up was established..and the drum takes must have been very nearly identical.
Were you ever surprised at how world class players might come in to the session and just not hit the spot?..thus being rotated for another player...was each player just left free to bring what they could to the piece or was it heavily instructed?
The end results are pure magic..what sort of decisions were infront of you at editing,were there any 'happy accidents' or was the vision so complete it was simply following instruction..?
I wish I could find more in depth questions now you are here!
these records are magic to me..what a groove!!