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Amigo Studios warehaus Acoustic Pianos
Old 13th August 2016
  #31
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Old 14th August 2016
  #32
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[QUOTE=Sounds Great;12072298]Anyone know Donn Landee? In his Wikipedia he said API's were used at Amigo. I wasn't aware of any, only the Harrisons.

Studio A had an in house built console with APIs. Studio E had the Harrison.
Old 15th August 2016
  #33
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Ah, thanks for responding and setting me straight, Phill.

Last edited by Sounds Great; 15th August 2016 at 07:45 PM..
Old 15th August 2016
  #34
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So was the Van Halen stuff recorded in Studio A?
Old 15th August 2016
  #35
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Quote:
Originally Posted by Sounds Great View Post
So was the Van Halen stuff recorded in Studio A?
I don't remember the tracks being cut in A but it was overdubbed and mixed there.
Old 8th February 2017
  #36
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Amigo Studios

I remember hearing of the studio when I was younger.
Old 1 week ago
  #37
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Quote:
Originally Posted by Sounds Great View Post
Quote:
Originally Posted by Gibson View Post
Sailing by Christopher Cross

I think Chet Hines engineered that Song/Album.

Its my all time favorite track for its amazing sound, blows me away anytime i listen to it. Its the best rest recording, Period...

I love to know what tape machine? was used with what type of tape? tape speed?, what console? Mics , Pre Amps Etc.......etc.....
Yes:

Quote:
Producer: Michael Omartian
Engineer: Chet Himes
Arrangers: Christopher Cross, Michael Omartian
At that time it was just Warner Bros recording studio I believe.

Not sure of the tape machine as I wasn't there until 1984, at which time it was all MCI 24 track machines, but I was told he did most of the work on the song in the small C room.

Also one a my favorite songs as well, fantastic sonic textures and just a great recording.
The machine was a 3m M79. Great sounding machine. A little soggy...but that mated well with the sort of stoic nature of the Harrison. Punching was painfully slow as we were used to MCI JH124's. That's probably why you found all MCI there by the time you got there. Chet was also an MCI dealer. Tape would have been 456 Ampex likely. That was Chet's go to tape. You have to realize the uniqueness of this recording. We, Christopher Cross, were a band....not a solo artist as he later took the name and identity. Chris Geppert, Andy Salmon, Rob Meurer and my self were known and performed under the moniker Christopher Cross. The complete details of the hijacking are really questionable even to me to this day. Chet was our engineer and Chris's best friend for many years. If none of this seems plausible...ask yourselves how did a newly signed major label artist manage to convince Warner Brothers and Michael Omartian to use these musicians and engineer for their debut work? The reason we were there is because the combination of those entities made that sound what it was.

Chet partnered with a wealthy oil Texas oil man and bought Amigo. Much ensued...Chet did have a 6 series coupe. He made a bit of money off of the CC record. He became a rather in demand sort of fellah after his out of nowhere bursting on to the L.A. Scene and having HUGE sonic success with our debut LP. The drums were uniquely designed by me and ordered especially for the project and in fact it was held up because of a dock strike in Boston that kept us from receiving them. Chet was co owner and chief engineer at Odyssey-Pecan Street-Studio South in Austin. There were not a lot of old mics around that he was used to. So at Amigo he used a lot of stock bits. 414's. SM56. Beyer 881. Not sure what he used on Chris's vocal.

E was a magic studio. The piano was amazing. It was an old Steinway. Omartian plays so hard it had to be retuned after every 3rd pass if he was rocking.

My first impression of Amigo...we had always used the old Koss brown spongy earphones. HV1A. Everything sounds good in there...and we would come into the control room and be disappointed by some JBL 4 way monstrosity that sounded like ass. For these sessions we were given Koss Pro 4a phones which in turn sounded like ass. We cut a rough of Say You'll Be Mine first day....which we ended up scrapping because the tempo was a bit up....but I remember coming in worried because it sounded so awful in the cans...and when the sound came across those Westlakes....I almost pee'd myself and started crying. Finally we sounded like a RECORD! I was just turned 22 a few weeks before and really I was totally green. I have a near photographic memory. If anyone has specific questions I can try to answer. We played Basketball in A :-) Randy Newman was next door cutting Born Again. I played a lot of Tempest in the hall....with Russ Titleman.

Tommy Taylor
Old 1 week ago
  #38
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Tommy, thanks for the post! What a great record you made there.

'Sailing' has always held a spot on my mixed artists tapes, and then CD's.
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