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That Classic Country Sound
Old 29th April 2006
  #1
Gear Addict
 
Slap Back's Avatar
 
๐ŸŽง 10 years
That Classic Country Sound

Hi,

I've been a lurker here for a few years and enjoy this forum a lot.

I use a cheap Motu 2408 MKII, Samplitude V8, and a Digimax LT Preamp to do home recordings. Mics:414 TLII, KM184's, 421's, SM57's, C1. Instruments: Les Paul, Tremoverb, P Bass Taye Studio Maple Kit /Sabians

I stumbled on this classic country station that took me back to when I was a kid with my dad listening to:

You Picked a Fine Time to Leave Me Lucille
Big John
Stand By My Woman Man
What's Your Mamas Name
Coal Miner's Daughter
The Wichita Lineman
The Gambler
Briown Eyes Blue

.... and so on

They all sound very similar and quite pleasant to my ear.

Is there a certain mixing board, preamp, eq, responsible for thes trademark sound?

Can a cheap home studio like mine get a peice of it?
Old 29th April 2006
  #2
Moderator emeritus
 
๐ŸŽง 15 years
Quote:
Originally Posted by Slap Back
Hi,

I've been a lurker here for a few years and enjoy this forum a lot.

I use a cheap Motu 2408 MKII, Samplitude V8, and a Digimax LT Preamp to do home recordings. Mics:414 TLII, KM184's, 421's, SM57's, C1. Instruments: Les Paul, Tremoverb, P Bass Taye Studio Maple Kit /Sabians

I stumbled on this classic country station that took me back to when I was a kid with my dad listening to:

You Picked a Fine Time to Leave Me Lucille
Big John
Stand By My Woman Man
What's Your Mamas Name
Coal Miner's Daughter
The Wichita Lineman
The Gambler
Briown Eyes Blue

.... and so on

They all sound very similar and quite pleasant to my ear.

Is there a certain mixing board, preamp, eq, responsible for thes trademark sound?

Can a cheap home studio like mine get a peice of it?
It's not in the board, the pre, or the EQ - it's the players and in the songs. The songs you mentioned are not only from a span of more than 15 years, but were also recorded in Nashville and LA. Think about what 15 years (any 15 years, really) did to the sound of rock music; country's the same way.

But to your question about whether your home studio can get some of that sound, the anwer is yes - as long as you have songs that are as good as the ones you cited and musicians as good as the guys were who played on those records.
Old 29th April 2006 | Show parent
  #3
Gear Maniac
 
๐ŸŽง 15 years
I'm listening to Patsy Cline right now and I think her hits represent the highest level of achievement that can possibly be reached in recorded music.

Every fekking element is top-notch, 10 out of 10. Songs, singer (spellbinding), players, arrangement, room, recording technique.

It makes me sad that I don't think music history will allow all of these ingredients to come together again.


PC
Old 29th April 2006 | Show parent
  #4
Gear Head
 
Kawriver's Avatar
 
๐ŸŽง 15 years
Oh hell yea!

Quote:
Originally Posted by Mr. PC
I'm listening to Patsy Cline right now and I think her hits represent the highest level of achievement that can possibly be reached in recorded music.

Every fekking element is top-notch, 10 out of 10. Songs, singer (spellbinding), players, arrangement, room, recording technique.

It makes me sad that I don't think music history will allow all of these ingredients to come together again.


PC
I totally agree. The only way the subtlety will be brought back into the music is 1. get jazz player to play country sessions again 2. get country songwriters to be more like Paul Overstreet than Big & Rich 3 Capture the moment in one room. Bleed can be cool for adding subtle but noticable effects to albums 4 have another once a generation talent like Patsy standing in.thumbsup
Old 29th April 2006 | Show parent
  #5
Lives for gear
 
vernier's Avatar
 
3 Reviews written
๐ŸŽง 10 years
Quote:
Is there a certain mixing board, preamp, eq, responsible for thes trademark sound?
Yes ...the equipment is largely it, along with the instruments of the era (50's and 60's). Consoles were custom built, mostly from studio in-house techs. Based on old radio consoles, the preamps were tube, (theres still a few around today from that era, RCA, UA, Telefunken, etc). As for eq, most consoles didn't have it. When needed, it was patched in, either a passive, two-knob shelving, like 100 hz and 7 or 8 khz, with a couple switches to change those settings to something like 40 hz, and 3 or 5 khz. And some studios had a Pultec, or even racks of 'em. And they used filters, high and low-pass. This, along with the mics of the day, and analog recorders, gave it a sound. There are great musicians today, and there were great one's then, but the records sound different, don't they.
Old 29th April 2006 | Show parent
  #6
Lives for gear
 
๐ŸŽง 10 years
It don't mean a thang, if it ain't got that twang ...
Old 29th April 2006 | Show parent
  #7
Lives for gear
 
T.RayBullard's Avatar
 
๐ŸŽง 15 years
Yes, I love Patsy Cline. Between her, George Jones, and Johnny Cash....they had that sound that noone will ever copy. Shame what "country" music has become.
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