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Anyone here work on a Rush album? Effects Pedals, Units & Accessories
Old 15th May 2006
  #1
Lives for gear
Anyone here work on a Rush album?

Allright, the last ten years or so of albums aside,

That's gotta be pretty cool...any stories?
Old 15th May 2006
  #2
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True North's Avatar
 

I have a couple of friends who have done a lot of work with them but none of them are on this board. Maybe I can prod them to have a visit here OR worst case scenario I can pick their brains for stories to translate.
Old 15th May 2006
  #3
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by-tor's Avatar
 

Sweetness!
Old 15th May 2006
  #4
Lives for gear
yeah, this inspired me to ask this question:

http://www.youtube.com/watch?v=r460U...sh%20limelight

I know they did a lot of their great records at Le Studio, Montreal, often mixing at Trident...

Some of their 70s-early 80s stuff sounds amazing, by the way. Pop in a re-master of Hemispheres and you'll know what I mean.

I think most engineers hate Rush for what it did to DRUMMERS. "Yeah, uh, I can't mic up each of your OCTABONS, buddy".

But overzealous (and octabon-, or the poor man's version, ROTOTOM-weilding) Neil Peart devotees aside, tracking *actual* Rush drums must have been an experience!
Old 15th May 2006
  #5
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max cooper's Avatar
 

I think guys like Matt Cameron have a bit o' Peart in 'em. That doesn't seem to be a bad thing.
Old 15th May 2006
  #6
Gear Maniac
 
echo unit's Avatar
 

I've worked with Rush.

What do you want to know?
Old 15th May 2006
  #7
Gear Maniac
 

James Jimbo Barton who has worked a bunch with Rush mixed one of my records, but I have not talked to him for a long time.

Hell of a mixer/ engineer, and a really nice Brit to boot and a great memory of Rush recording/ mixing sessions.


echo unit, do you know Jim? I'd love to say hi and see how he is doing if you know him and talk to him. If not, I may just post and see if anyone still chats with him.


Cheers,
Old 15th May 2006
  #8
Gear Addict
 

Quote:
Originally Posted by thejook
yeah, this inspired me to ask this question:

http://www.youtube.com/watch?v=r460U...sh%20limelight

I know they did a lot of their great records at Le Studio, Montreal, often mixing at Trident...

Some of their 70s-early 80s stuff sounds amazing, by the way. Pop in a re-master of Hemispheres and you'll know what I mean.

I think most engineers hate Rush for what it did to DRUMMERS. "Yeah, uh, I can't mic up each of your OCTABONS, buddy".

But overzealous (and octabon-, or the poor man's version, ROTOTOM-weilding) Neil Peart devotees aside, tracking *actual* Rush drums must have been an experience!
Neil never used Octabons. Stewart Copland did and there isn't anything wrong with that!


If I am not mistaken, part of Hemispheres was mixed and/or tracked in England, part at Le Studio. The song Circumstances sounds very different than Hemispheres, La Villa and The Trees.

While being one of the biggest Rush fans on this board, I don't know this exactly. Also don't know anybody that has worked with them first hand.

If ever there was a time machine, I would love to be in on the Moving Pictures tracking sessions. Very cool to watch one of the greatest drummers of all time.
Old 15th May 2006
  #9
mds
Lives for gear
 

Somewhere I have a video of ~1979-80 Rush in the studio and there are great shots of Neil with a PZM taped to his chest. That always cracks me up!
Old 15th May 2006
  #10
Gear Addict
 

Quote:
Originally Posted by mds
Somewhere I have a video of ~1979-80 Rush in the studio and there are great shots of Neil with a PZM taped to his chest. That always cracks me up!
YEah, that was a video for the song "Vital Signs". They wanted to replicate what a drummer heard from the throne (which is a good idea cause drums sound good from back there). I don't know if it was Terry's idea or Neils. Obviously, it didn't catch on. Hehe
Old 15th May 2006
  #11
Gear Maniac
 
echo unit's Avatar
 

No.

I worked for Northfield and Leonard though.
Old 15th May 2006
  #12
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by-tor's Avatar
 

Quote:
Originally Posted by daryllh
YEah, that was a video for the song "Vital Signs". They wanted to replicate what a drummer heard from the throne (which is a good idea cause drums sound good from back there). I don't know if it was Terry's idea or Neils. Obviously, it didn't catch on. Hehe
They actually explain that thing on the latest neil peart instructional video. It has a whole section on recording neils drums. Very cool. Oh. And I thought I was the biggest rush fan on this board?!
Old 15th May 2006
  #13
Gear Addict
 

Quote:
Originally Posted by by-tor
They actually explain that thing on the latest neil peart instructional video. It has a whole section on recording neils drums. Very cool. Oh. And I thought I was the biggest rush fan on this board?!
Maybe, but whos cell phone number ends in 2112? hehe
Old 15th May 2006
  #14
Moderator
 
Blast9's Avatar
"Limelight" solo


I always wanted to know how Alex Lifeson got that really high harmonic which seems to go through a delay with infinite repeats and then jumps an octave
Old 15th May 2006
  #15
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by-tor's Avatar
 

Quote:
Originally Posted by daryllh
Maybe, but whos cell phone number ends in 2112? hehe
Dang! That is cool. I had a Red VW Jetta for a while.....I called it my Red BarJetta.....
Old 15th May 2006
  #16
Gear Addict
 

Quote:
Originally Posted by by-tor
Dang! That is cool. I had a Red VW Jetta for a while.....I called it my Red BarJetta.....
That's geeky


and I like it!
Old 16th May 2006
  #17
Gear Maniac
 

Huge Rush fan here as well.


Unmatched in progressive song structures (save for Yes) and oh-whatta-sound.
I've met and talked with Neil and Geddy on a number of just-so-happened-coincidences, and they are very cool guys as well.

I would love to talk with anyone who has worked with them. Echo Unit, what have you done with them? Please tell!


Cheers,
Old 16th May 2006
  #18
Gear Guru
 
u b k's Avatar
 

NERDS!


i love the sonics of permanent waves and moving pictures the best, those records are beyond punchy. i especially love the dry tightness of permanent waves, and the uber-wideness of moving pictures.

i also adore the sounds on caress of steel; neil's kit never sounded so honest, like two overheads in a small room and a spot on the kick.

what the hell is the deal with them eschewing tape completely since, what, 1985? can they not hear how lifeless their recordings have been since then, with the possible exception of counterparts (thank you kevin shirley)?


gregoire
del ubik
Old 16th May 2006
  #19
Gear Guru
 
Sounds Great's Avatar
 

Quote:
Originally Posted by u b i k
can they not hear how lifeless their recordings have been since then, with the possible exception of counterparts (thank you kevin shirley)?

I wouldn't blame the caveman. I think they just forgot how to write a rock song.
Old 16th May 2006
  #20
Gear Guru
 
Sounds Great's Avatar
 

Quote:
Originally Posted by Blast9
"Limelight" solo


I always wanted to know how Alex Lifeson got that really high harmonic which seems to go through a delay with infinite repeats and then jumps an octave

Sounds like a digital delay with infinite repeat switched on.
Old 16th May 2006
  #21
Moderator
 
Blast9's Avatar
Yes I does... But I'm wondering what causes the octave leap part-way through.. I don't think its a fingers-and-pick gennerated sound!
Old 16th May 2006
  #22
Lives for gear
Quote:
Originally Posted by echo unit
I've worked with Rush.

What do you want to know?
Ok, I'll take the reins on this one I guess:

Which record(s) did you work on?

Theres always a lot of hemming and hawing about how little mics, mic pres, tape, converters, etc. matter compared to the way the band plays in forming the quality of the recording. I've found this first-hand recording bad vs. great drummers/bassists/guitarists; I would imagine this is none more salient than with recording a band like Rush, no?

Simply, how easy is it to get great tones when you're working with a band like that? How many tracks does Neil use up with that beheamoth of a kit? How quick are they?

Geddy has a rather unique voice; what do engineers do with him generally mic-wise?

Anyway, random stories will suffice in leiu of answers to any of these questions...
Old 16th May 2006
  #23
mds
Lives for gear
 

Quote:
Originally Posted by u b i k
NERDS!


i love the sonics of permanent waves and moving pictures the best, those records are beyond punchy. i especially love the dry tightness of permanent waves, and the uber-wideness of moving pictures.

i also adore the sounds on caress of steel; neil's kit never sounded so honest, like two overheads in a small room and a spot on the kick.

what the hell is the deal with them eschewing tape completely since, what, 1985? can they not hear how lifeless their recordings have been since then, with the possible exception of counterparts (thank you kevin shirley)?


gregoire
del ubik
I love the drum sounds on COS. So dry and in your face. There is a rawness on the 75-80s stuff that I always loved...
Old 16th May 2006
  #24
Gear Addict
 

Quote:
Originally Posted by thejook
Ok, I'll take the reins on this one I guess:

Which record(s) did you work on?

Theres always a lot of hemming and hawing about how little mics, mic pres, tape, converters, etc. matter compared to the way the band plays in forming the quality of the recording. I've found this first-hand recording bad vs. great drummers/bassists/guitarists; I would imagine this is none more salient than with recording a band like Rush, no?

Simply, how easy is it to get great tones when you're working with a band like that? How many tracks does Neil use up with that beheamoth of a kit? How quick are they?

Geddy has a rather unique voice; what do engineers do with him generally mic-wise?

Anyway, random stories will suffice in leiu of answers to any of these questions...
For Ged's solo album, he used a TLM170. I don't know if he actually used a 414 for moving pictures but he is singing into it for all the videos from that album. The old 414s with the C12 capsules? Anyone?
Old 16th May 2006
  #25
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chrispick's Avatar
 

Quote:
Originally Posted by Blast9
Yes I does... But I'm wondering what causes the octave leap part-way through.. I don't think its a fingers-and-pick gennerated sound!
I always thought it was one of those finger-over-the pick harmonics. Sounds that way to me.

That solo is the coolest part of what is otherwise an extremely pretentious song (lyrically particularly). Actually, I really like Lifeson's playing on both Permanent Waves and Moving Pictures.

The rest? Well, I'm glad it appeals to other people.
Old 16th May 2006
  #26
Gear Addict
 

Also,

Please keep Al away from the mixing side of things when it comes to studio albums. Keep him out of the whole engineering thing alltogether. He is one of the most influential rock guitarists to ever live. He should do what he does best.

I was just watching the interviews on the r30 DVD tonight.

What amazes me to no end is how young the guys were when they did their best stuff. Neil was 27 when he did Permanent Waves. 27! Ged and Al were 26. It's hard to understand the amount of talent in such a young bunch of guys. To think that they recorded my most favorite album, 2112, when they were 23-24! I can't think of anybody in my circle of clients or musician friends who had the chops and vision at that age. Rush were true pioneers.

I've had a love affair with the band since I got 2112 from my aunt at the age of 4...26 years ago. I've stuck by them for so long, sand their praises, etc. I've taken so much grief it's silly. Still, almost everybody I argue with can agree that each is a master of their istrument.

I've been on an alex kick for a few months. I can't get over his lead abilities. What strikes me is his ability to morph so easily. Each album is a bit different. I listen to Fly By Night and bump ahead to 2112..about 3 years difference but his lead styles are so different. I then jump to Perm Waves and MP...BAM! Such obscure structures for his time. The lead in 'the camera eye' is wonderful. Coupled with (IMO) geddy's best bass line ever (bass in lead section of camera eye) and you may have the exact pinnacle of the bands career wrapped in that 48 seconds. Moving Pictures is their best album, hands down. Best pure musical album that they ever did. Only better than Permanent Waves because of the selection of great songs.
Old 16th May 2006
  #27
Gear Addict
 

****, I forgot the lead in Jacob's Ladder and the 2 leads in 'Natural Science'.
Old 16th May 2006
  #28
Moderator
 
Blast9's Avatar
daryllh and crispick... I concur whole-heartedly.

However ---- crispick, I'd put Hemispheres in there too. I love the weird polyrhythm that kicks in on the intro section of the first (very long) tune, just after the 1 minute mark --- What is N.P. doing... Mind-blowing. Also, I don't find his playing to be stiff on this tune!

[EDTI] PS WTF IS that time-sig???
Old 16th May 2006
  #29
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ArcCirDude's Avatar
 

Quote:
Originally Posted by Blast9
daryllh and crispick... I concur whole-heartedly.

However ---- crispick, I'd put Hemispheres in there too. I love the weird polyrhythm that kicks in on the intro section of the first (very long) tune, just after the 1 minute mark --- What is N.P. doing... Mind-blowing. Also, I don't find his playing to be stiff on this tune!

[EDTI] PS WTF IS that time-sig???

It's been over 20 years since I heard it, but if your talking about Hemispheres during the "I bring food and I bring shelter" or whatever it was, it's 7/8. Count it 1-2 1-2 1-2-3.
Old 16th May 2006
  #30
Moderator
 
Blast9's Avatar
Yes... That riff but the instrumental section before the vocal section.... It seems like compound time with three bits 1-2-3-4-5-6-7 >>> 1-2-3-4-5-6 >>> 1-2-3-4-5-6, then back again, but the drums are playing across the beat so much I lose count!

So what's that? 7/8 plus 12/16? = 19/24 LOL
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