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Gear used to record '90125' by Yes Reverb/Delay Processors (HW)
Old 21st March 2016
  #1
Here for the gear
 

Gear used to record '90125' by Yes

I have become obsessed with this album as of late. It came out when I was in high school. I have done several searches and can't find the following:

1. What reverb was used? Lexicon? Other
The vocals are drenched in reverb as are other instruments.

2. What board was it recorded on?
SSL? Other?

3. Bass
The bass hits you in the gut practically like an EDM track of today.
Is it all Syncalvier? Is it a real bass? Combination? How did Trevor Horn
get that monster bass sound?

4. Any other gear that is important to mention, pleas add.

The album is astonishing. It does everything right which is why it holds up to today. Great songs, genius level arrangements and use of dynamics, it sounds like no other record, and has a crystal clarity to the recording that makes listening to it even in your car sound fantastic.

5. Who was the audio engineer? Who mixed it?

Any other suggestions on how they got such an incredible clear, powerful, sound, with incredible dynamics and sense of sound stage...would be welcomed.

Thanks!!
David F.
Old 22nd March 2016
  #2
Lives for gear
 
nosebleedaudio's Avatar
 

Wiki has a lot of info on the album.
Old 22nd March 2016
  #3
Gear Maniac
 

It's a fantastic album. Produced by Trevor Horn and Engineered by Gary Langan. There was a fantastic interview by Stuart Bruce, who was an assistant on that record, he says that Owner of a Lonely heart was Gary's rough mix.

I believe that the drums and bass were done on 2" 16 track on and SSL or a Trident TSM console.
Old 22nd March 2016
  #4
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nevefreak's Avatar
 

Quote:
Originally Posted by DFauvre View Post
2. What board was it recorded on?
SSL? Other?
SARMs had SSL

Quote:
Originally Posted by DFauvre View Post
3. Bass
The bass hits you in the gut practically like an EDM track of today.
Is it all Syncalvier? Is it a real bass? Combination?
Chris Squire on 95% of it. Leavit has some synth bass
Wasn't THorn a Fairlight fan back then?

Quote:
Originally Posted by DFauvre View Post
How did Trevor Horn
get that monster bass sound?
Chris squire was a monster bass player, He was arguably the best bass player of all time. He played nice basses as well

Quote:
Originally Posted by DFauvre View Post
5. Who was the audio engineer? Who mixed it?
Gary Langan
Old 22nd March 2016
  #5
Gear Addict
 

I think the sonics are great. It is not my favorite YES recording, but it is the best they ever sounded. The two Trevors did magnifico.
Old 22nd March 2016
  #6
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Mertmo's Avatar
 

I love this album, just listened to it the other day!
Amazing recording
Old 22nd March 2016
  #7
I still use "It can happen" as a reference all the time. Still holds up even to this day. It sounds SSL, and kinda 5534 IC-ish, but man...it sounds clean and precise.

The hi hats alone man...

Amazing recordings, the whole record. Groundbreaking IMO.

SSL for sure.

There is a ton of info on the web if you Google. Also, several people here have posted on this site that have actually worked with Yes, but sadly, I don't remember their screen names.

All kinds of anecdotal info about disagreements with snare sounds etc.

Both Trevors are two of my favorite producers to this day.

Absolute genius badasses.

I think I have seen Yes some 14-15 times now, in various forms. Sad to see Squire go.

90125 was originally going to be released as Rabin's solo record. They made an attempt to try and work with Jimmy Page, but ended up with the line up that is on the record instead. Glad they did , I love Page but that record is magic.

Drama right before, has Trevor Horn on lead vocals as well as production credit. Great record.

The Talk album is all Rabin, and has some great stuff too, years later. One of the first DDD records I liked the sound of. Rabin was a protools pioneer man.

Sync'ing up like three old Apple machines on that record to get the track counts he needed. I think some of Anderson's vocals were the only thing to hit analog tape on that record? I remember an ART ad where they said they had used a PRO MPA mic amp? Craziness.

I think it was for that record, although could be after that.

Anyway, good sound, and you can hear some similarities in production on Talk to 90125. At least I think I can.

Maybe start here, and Google for more...

Red Bull Music Academy

P.S. DISCLAIMER If by chance I got any info wrong, please DO NOT JUMP ON MY A** for it. I have been coming here less and less lately because anytime I post, somebody has to come behind me and nitpick and tear apart anything I say. Getting weary of the hostility anymore. Just trying to put out there what I think I remember...and my memory is getting worse each day :0)
Not claiming to be an authority, just trying to join in the discussion. Thanks!
Old 22nd March 2016
  #8
Gear Maniac
 

I'm not sure that we can be sure it was all done on an SSL. I believe it was around the time the SSL was installed at SARM East. It was finished on the SSL for sure but i'd wager it was started on the Trident TSM, which was the board they had before the SSL.

What would the harmonizer be on the guitar solo in Owner of a Lonely Heart? H949?

Also Julian Mendelsohn on additional engineering duties.

Last edited by super teaboy87; 8th April 2016 at 11:54 AM..
Old 22nd March 2016
  #9
Quote:
Originally Posted by NEWTON IN ORBIT View Post
The Talk album is all Rabin, and has some great stuff too, years later. One of the first DDD records I liked the sound of. Rabin was a protools pioneer man.

Sync'ing up like three old Apple machines on that record to get the track counts he needed. I think some of Anderson's vocals were the only thing to hit analog tape on that record? I remember an ART ad where they said they had used a PRO MPA mic amp? Craziness.

I think it was for that record, although could be after that.
Newton In Orbit, please stick around, this isn't meant with any malice. I remember reading an article in Keyboard Magazine when Talk came out. I think he was using Digital Performer, not ProTools for that session. It also said he recorded the drums to analog tape and committed to a drum mix before running in the computer. He was networking 3 Apples together to get it all to work. Reading that article, and enjoying Talk as much as I do was the reason I ran out and bought a Mac, an Echo Layla card and Cubase back in '99. It suddenly felt affordable to me to have a studio in my house. :-)

90125 is a great production, too.

Scott
Old 22nd March 2016
  #10
Lives for gear
 

Quote:
Originally Posted by super teaboy87 View Post
I'm not sure that we can be sure it was all done on an SSL. I believe it was around the time the SSL was installed at SARM East. It was finished on the SSL for sure but i'd wager it was started on the Trident TSM, which was the board they had before the SSL.

What would the harmonizer be on the guitar solo in Owner of a Lonely Heart? H949?

Also Julian Mendelsohn on adittional engineering duties.
969 or 1580/s by then was shifting well though the 969 and Publison Infernal were all in, Trever..,.mad as a hatter, genius, maybe, nuts maybe, great sounds no doubt, and months of detail, detail, detail, Trevor always seemed to be into total detail. Great recording though! I thought it was the HD optioned Synclavier by then, though Fairlights were also used, it apparently was the dump to DASH from SDIF and RS422 etc. You can find most info on Wiki and other sites, as a case study of technology changing and producers use if it, Thesis have been written on this! Google Bennett
Old 23rd March 2016
  #11
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nevefreak's Avatar
 

Quote:
Originally Posted by NEWTON IN ORBIT View Post
"It can happen"
The bass in the intro is the best for testing your subs
I still cry when I here that outro... I like the "Cinema" demo version of "It can happen" with different verses. Chris on lead vox!!
Old 23rd March 2016
  #12
Quote:
Originally Posted by Deep Water Music View Post
Newton In Orbit, please stick around, this isn't meant with any malice. I remember reading an article in Keyboard Magazine when Talk came out. I think he was using Digital Performer, not ProTools for that session. It also said he recorded the drums to analog tape and committed to a drum mix before running in the computer. He was networking 3 Apples together to get it all to work. Reading that article, and enjoying Talk as much as I do was the reason I ran out and bought a Mac, an Echo Layla card and Cubase back in '99. It suddenly felt affordable to me to have a studio in my house. :-)

90125 is a great production, too.

Scott
No worries man. I read somewhere that it was 3 Session 8 units or something (remember those?), and 3 macs networked. I'm not sure exactly when DP began to do actual audio and not just midi, but I remember most people having to run both dp and pt, as pt had basically no midi capabilities back then.

So yeah, probably midi done via dp and audio via Digidesign stuff. He and others were HUGE DP / and MOTU users back then...most any people midi on mac were--- NIN, etc.

I was almost certain the mix article whatever I read said the only the vox were done analog, but hey I wasn't there.

Thanks for the info!
Old 23rd March 2016
  #13
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AuldLangSine's Avatar
 

2b

Last edited by AuldLangSine; 7th June 2016 at 04:47 AM..
Old 23rd March 2016
  #14
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nevefreak's Avatar
 

Quote:
Originally Posted by DFauvre View Post
Is it all Syncalvier? Is it a real bass? Combination? How did Trevor Horn

David F.
8:00
https://www.youtube.com/watch?v=fm1fH_csOX0
Old 25th March 2016
  #15
Here for the gear
 

The album sonically has both an analog sound (Trevor's guitars) and digital sound (the bass which has to be Synclavier double with Chris's real bass?), and it does what all great albums do, each song has tremendous dynamic range. I too have heard that it was not recorded on an SSL, but mixed on one. What was it recorded on? And what reverb is drenching the vocals all the time? Lexicon? Truly a masterpiece to be studied....
Old 29th March 2016
  #16
I picked this up today after getting curious reading this thread. I can't say I like the production. It sounds thin especially compared to their '70s recordings. It's an '80s style production that doesn't do justice to the Yes sound. They sure sold a lot of this record but IMO Drama was their last great record.
Old 5th April 2016
  #17
Gear Nut
 
ampsarus's Avatar
Thanks to all who brought info about this great recording to light. The only factoid I know that has not been mentioned is that the title 90125 is the catalog number that was assigned by Atlantic Records, and the band (for reasons unknown to me) decided to use it for the title.

Best,
Old 8th April 2016
  #18
Gear Maniac
 

Here's a link to the Stuart Bruce interview. I've skipped it to where he is talking about Yes. It gives quite a bit of insight into making the record. The whole interview is good though if you have a spare hour.

https://youtu.be/Zrzzc5f7z94?t=30m56s

In answer to DFauvre The console was a Trident TSM which was the console in SARM east before they put in the SSL.
Old 8th April 2016
  #19
I've always wondered what reverb was used on that album, it sounds incredible to me. There's a lot of reverb on 90125 but it sounds so good.

The guitars sound amazing too, that solo on "Owner of a lonely heart", wow. Trevor Rabin is amazing.

Everything really, I know many Yes purists hate the Rabin era but I love it.
Old 8th April 2016
  #20
I'm a huge fan of the Yes Rabin era as well.

The guitars on 90125 are monstrous - mostly Trevor's 62 Strat I think with some custom pickups of which type are eluding my memory now. The solo and fills on 'Changes' (probably my favourite cut on the album) is a Gibson Barney Kessel.

Edit: looked it up - Rabin's old Strat has an unspecified Dimarzio, a Bill Lawrence, and Trevor genuinely doesn't remember what the third pickup is. All stacked humbuckers.
Old 8th April 2016
  #21
+10 OP Great record.

Bought a new set of monitors recently. First tune run through 'em...... Changes.

Old 8th April 2016
  #22
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nevefreak's Avatar
 

Quote:
Originally Posted by dadgad65 View Post
+10 OP Great record.

Bought a new set of monitors recently. First tune run through 'em...... Changes.

city of love is a good reference mix
Old 12th April 2016
  #23
So anyone has more info on the reverbs used ?
Old 13th April 2016
  #24
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nevefreak's Avatar
 

Quote:
Originally Posted by super teaboy87 View Post
Here's a link to the Stuart Bruce interview. I've skipped it to where he is talking about Yes. It gives quite a bit of insight into making the record. The whole interview is good though if you have a spare hour.

https://youtu.be/Zrzzc5f7z94?t=30m56s

In answer to DFauvre The console was a Trident TSM which was the console in SARM east before they put in the SSL.
"It might have been the SSL"......"I can't remember"
Old 7th November 2017
  #25
Gear Head
 

Bump for this great record! Any more info on the reverbs used?
Old 8th January 2019
  #26
Gear Head
 

Reverbs

I know this is an old thread now But I started researching this myself only recently and after listening to lots of interviews and reading everything I could find. I finally found an interview with TH where he mentions the Lexicon 224 was used on the ABC album, which was just before 90125.

So although it's not an authoritative answer, it seems highly likely they used the 224 on 90125.

I'd like to know what was used on Adventures in Modern Recording, at the moment I assume the 224 again.
Old 7th April 2019
  #27
Gear Maniac
 
jammybastard's Avatar
 

reviving this for a sec to add this vid clip of Yes in soundcheck on the 90125 tour that shows Casey Young offstage playing the additional keys/samples from Synclavier to recreate the sound of 90125 live.

YouTube
Old 7th April 2019
  #28
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ProgFree's Avatar
 

Nice video! Even if I prefer the more experimental side of yes, I've listened to this album a million times and cannot get tired of it. Besides the amazing musicianship, I think that the solidity and punch of that bass contributes immensely to the tightness of this record. I say this because I have a friend that uses exactly the same bass gear and his records have that kind of solid and punchy low end.
Old 4 weeks ago
  #29
Gear Maniac
 
Eiko's Avatar
I’m wondering if we’ll be talking the same way about today’s music in 30 years from now...
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