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Questions about your work with Giorgio Moroder Reverb/Delay Processors (HW)
Old 10th July 2015
  #1
Gear Nut
 

Thread Starter
Questions about your work with Giorgio Moroder

Hello Ross,

During your time working with Giorgio Moroder, do you remember what console was being used? Did you work with him only on the Top Gun soundtrack, or were there any other projects that you worked with him on?

Did Giorgio have any favorite compressors, EQ or effects? Was there a specific reverb he preferred?

Thank you for your time!
Old 11th July 2015
  #2
Ross Hogarth
 
BoogieMotel's Avatar
 

I was actually Giorgio's staff engineer for a while in the 80's at his studio Oasis, which had been called Davlen before he bought it
which is now Larabee North in No Ho

..my good friend the producer, Richie Zito brought me into his studio to be a part of everything that was going on .. even tho I was involved in a bunch of other things at the time

In Oasis we had 3 rooms
We had an early ssl E in one room ..it was the first ssl in LA
and Soundcraft TS 24 consoles in the other 2
One room was a writing/overdub room with a 32 channel TS24 and in the bigger room was 56 input TS24

Giorgio was working a lot of things ..Top Gun, Bev Hills Cops ..Metropolis, Days of Thunder, ..sheesh I can't remember it all .. and he was designing the worlds greatest car with the worlds finest car designers ..the Cizetta Moroder ..
Harold Faltermeyer was doing Bev Hills Cop 1 and 2 , Running Man, Fletch ..etc .. he had a Synclavier
Keith Forsey was doing Billy Idol
Richie was producing Heart, Cheap Trick, Gregg Rolie , Eric Martin
Gary Chang was around, Jim Wirt, Sylvester Levey was in doing Rambo movies
it was a fertile group and very fertile tim
I did everything from early midi programming and Linn programing and tracking everything to writing little cues for some of the movies
We had 4 of the very first Sony PCM 24 track ..3324 tape machines
so we could make clones of the tape and have all 3 rooms doing the same song at the same time .. like today with computers

we had a pretty light gear list
ams delay's in all room
Lexicon 200's in all rooms
Lexicon 224's in all rooms
4 Lexicon 42's in all rooms
and some DBX 160's
some 160x's
and maybe a couple other things but it was very stripped down
His favorite effects were the plate in the 224
inverse program 6 in the 200
ams harm 6 up 6 down
and a quarter/dotted eighth on the 2 Lexicon 42's
this way we could do basically the same same balance from room to room on the same song ..
like a pro tools rig today with the same plugs ...
it was a precursor to todays work flow ...in the mid/early 80's ..
nuts right ?
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Old 12th July 2015
  #3
Gear Nut
 

Thread Starter
Quote:
Originally Posted by BoogieMotel View Post
I was actually Giorgio's staff engineer for a while in the 80's at his studio Oasis, which had been called Davlen before he bought it
which is now Larabee North in No Ho

..my good friend the producer, Richie Zito brought me into his studio to be a part of everything that was going on .. even tho I was involved in a bunch of other things at the time

In Oasis we had 3 rooms
We had an early ssl E in one room ..it was the first ssl in LA
and Soundcraft TS 24 consoles in the other 2
One room was a writing/overdub room with a 32 channel TS24 and in the bigger room was 56 input TS24

Giorgio was working a lot of things ..Top Gun, Bev Hills Cops ..Metropolis, Days of Thunder, ..sheesh I can't remember it all .. and he was designing the worlds greatest car with the worlds finest car designers ..the Cizetta Moroder ..
Harold Faltermeyer was doing Bev Hills Cop 1 and 2 , Running Man, Fletch ..etc .. he had a Synclavier
Keith Forsey was doing Billy Idol
Richie was producing Heart, Cheap Trick, Gregg Rolie , Eric Martin
Gary Chang was around, Jim Wirt, Sylvester Levey was in doing Rambo movies
it was a fertile group and very fertile tim
I did everything from early midi programming and Linn programing and tracking everything to writing little cues for some of the movies
We had 4 of the very first Sony PCM 24 track ..3324 tape machines
so we could make clones of the tape and have all 3 rooms doing the same song at the same time .. like today with computers

we had a pretty light gear list
ams delay's in all room
Lexicon 200's in all rooms
Lexicon 224's in all rooms
4 Lexicon 42's in all rooms
and some DBX 160's
some 160x's
and maybe a couple other things but it was very stripped down
His favorite effects were the plate in the 224
inverse program 6 in the 200
ams harm 6 up 6 down
and a quarter/dotted eighth on the 2 Lexicon 42's
this way we could do basically the same same balance from room to room on the same song ..
like a pro tools rig today with the same plugs ...
it was a precursor to todays work flow ...in the mid/early 80's ..
nuts right ?

Man thank you so much, this means so much to me, thanks for your time!
Old 13th July 2015
  #4
That was fun to read. Thanks, Ross.

Becoming familiar with your work through these threads, and feeling more and more appreciative in the process!
Old 13th July 2015
  #5
Ross this was awesome to read thank you!
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Old 15th July 2015
  #6
Lives for gear
 

awesome!!!!
Old 20th July 2015
  #7
Same as above. THX
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