Analogue DBT

[mark lynn]

Passing along from the man...

Y'ALL:

On the subject of DBT's analogue usage and today's debate on TDD, I'd
like to state that
YES, Vinyl is our intended format of choice, with the following aside.
We release our vinyl (now) with a free CD so that folks can play the
CD in the car or download onto their computer and iPod.
That way you can listen to the vinyl at home, enjoy Wes' wonderful
artwork in the size it was intended to be printed and still listen to
our dirty little adventures while shopping at the supermarket,
lounging by the pool (don't forget to watch the kids though) or
sitting next to that talkative salesman on the plane.
You pay a little bit more but you actually get the intended value and
sonic experience.

As for the subject of how we record:
Everything from Decoration Day forward (hopefully until the end of
time) has been recorded completely analogue.
We use 2" 16 track , which in my opinion (and David Barbe's also) is
the finest sounding recording format known to man.
We then mix down to 1/2" 2 track. We use tube compressors and pre-amps
and a very warm analogue board (which actually heats up the control
room).
If you listen to that Greatest Hits package that our old former label
is releasing, you will note that there is a significant difference in
sonic sound beginning with the fore-mentioned DD album.
Before that album, we wanted to record that way, but couldn't afford to.
I love digital recording because it enabled us to make records
cheaply, which at that time was the only way we could.
Being an analogue purist is an expensive game and we all have used our
record advance money (since we started getting such a thing) to record
that way.
(In other words, no cocaine and strippers for DBT, as all the money
goes to making our records sound the way they do).

We recorded Gangstabilly in a studio, but couldn't afford the tape so
it's recorded digitally. We had 2 days to track the entire album.
I worked construction helping to build the studio in exchange for the
studio time (which totaled 5 days including overdubs and mixing).

We recorded Pizza Deliverance at my house on 2 8 Track Digital
Recorders. We did it there so that we could spend more time tracking.
We then took it to Chase Park Transduction and mixed it.

Alabama Ass Whuppin' was recorded on the same gear at various Athens
and Atlanta clubs.

Southern Rock Opera was also recorded on same gear at the upstairs of
a uniform shop in downtown Birmingham.
We did overdubs at Cooley's house (in Atlanta at the time) and mixed
it at CPT.
I think we had about $5K to work with making that album.

The main reason we ended up signing a record deal after that was to
enable us to finally make records that sounded the way we heard them
in our heads.

A a lifelong Punk Rocker with a strong DIY aesthetic, I wholeheartedly
endorse the use of digital recording in able to do what you have to do.
For the record, I love my iPod and its ability to take 10,000 albums
with me on the road.
But when I'm at home, my vinyl is my most treasured worldly
possession(s).

When we negotiated our deal with ATO, having them promise to always
release our albums in vinyl (180 gm) with CD included was a big deal
and they have been very supportive of our desire to do so.

Have a great summer and see you soon.
Yours with wonderful warm tape noise,
Patterson Hood
DBT

[oilpiers]

Passing along from the man...

Y'ALL:

On the subject of DBT's analogue usage and today's debate on TDD, I'd
like to state that
YES, Vinyl is our intended format of choice, with the following aside.
We release our vinyl (now) with a free CD so that folks can play the
CD in the car or download onto their computer and iPod.
That way you can listen to the vinyl at home, enjoy Wes' wonderful
artwork in the size it was intended to be printed and still listen to
our dirty little adventures while shopping at the supermarket,
lounging by the pool (don't forget to watch the kids though) or
sitting next to that talkative salesman on the plane.
You pay a little bit more but you actually get the intended value and
sonic experience.

As for the subject of how we record:
Everything from Decoration Day forward (hopefully until the end of
time) has been recorded completely analogue.
We use 2" 16 track , which in my opinion (and David Barbe's also) is
the finest sounding recording format known to man.
We then mix down to 1/2" 2 track. We use tube compressors and pre-amps
and a very warm analogue board (which actually heats up the control
room).
If you listen to that Greatest Hits package that our old former label
is releasing, you will note that there is a significant difference in
sonic sound beginning with the fore-mentioned DD album.
Before that album, we wanted to record that way, but couldn't afford to.
I love digital recording because it enabled us to make records
cheaply, which at that time was the only way we could.
Being an analogue purist is an expensive game and we all have used our
record advance money (since we started getting such a thing) to record
that way.
(In other words, no cocaine and strippers for DBT, as all the money
goes to making our records sound the way they do).

We recorded Gangstabilly in a studio, but couldn't afford the tape so
it's recorded digitally. We had 2 days to track the entire album.
I worked construction helping to build the studio in exchange for the
studio time (which totaled 5 days including overdubs and mixing).

We recorded Pizza Deliverance at my house on 2 8 Track Digital
Recorders. We did it there so that we could spend more time tracking.
We then took it to Chase Park Transduction and mixed it.

Alabama Ass Whuppin' was recorded on the same gear at various Athens
and Atlanta clubs.

Southern Rock Opera was also recorded on same gear at the upstairs of
a uniform shop in downtown Birmingham.
We did overdubs at Cooley's house (in Atlanta at the time) and mixed
it at CPT.
I think we had about $5K to work with making that album.

The main reason we ended up signing a record deal after that was to
enable us to finally make records that sounded the way we heard them
in our heads.

A a lifelong Punk Rocker with a strong DIY aesthetic, I wholeheartedly
endorse the use of digital recording in able to do what you have to do.
For the record, I love my iPod and its ability to take 10,000 albums
with me on the road.
But when I'm at home, my vinyl is my most treasured worldly
possession(s).

When we negotiated our deal with ATO, having them promise to always
release our albums in vinyl (180 gm) with CD included was a big deal
and they have been very supportive of our desire to do so.

Have a great summer and see you soon.
Yours with wonderful warm tape noise,
Patterson Hood
DBT

Was this reply from PH in actual response to the thread I started, or was it dug up from some other discussion? If it was in response to my thread, ask him to check out my pics of him in LA. He is a GREAT photo subject.

[Tequila Cowboy]

[beantownbubba]

Gotta wonder about those priorities for the advance money

[GW in IA]

Just for the record.

Patterson Hood makes me happy!

[Flying Rabbit]

Nice. Thx for clearing that up.

Also, there's some amazing info in there (ATO contract, helping build studio, etc).

[RevMatt]

I feel that the reason why Go Go Boots was better received among the fans than The Big To Do is because there were initial problems with the vinyl pressing of TBTD which had to be recalled. Most of us didn't get the vinyl until three and a half months after the release date. I actually had to go back and retract what I had posted about TBTD here on 3DD -- namely that it wasn't a top tier DBT album -- and post that the album totally rocks in analogue. GGB's did not have the same problems and most of us were able to get the vinyl on the release day. So our initial thoughts on GGB's were influenced by hearing the record the way it was intended.

Another thing that helped with TBTD is understanding the logic of the sequencing of the songs. Initially, I felt that the album lost direction after "You Got Another". But once I got the vinyl where "Girls Who Smoke" is placed in between "Get Downtown" and "After The Scene Dies" I understood the logic. Part two of the album is about the difficulties supporting a family in this economy. The first two songs -- "This Fucking Job" and "Get Downtown" -- describe it from the average, everyday person's point of view. But from "Girls Who Smoke" on it is from the perspective of a working musician. ("A taste of our world for all of you who hug the rail") "Girls Who Smoke" is about the crappy festival gigs bands play because the money from these shows is usually guaranteed, which is why they put up with the crappy conditions. "After The Scene Dies" is about how the local music scenes are the foundation for the whole economy of the music biz. I haven't disected "I Told You So", but "Santa Fe" is about the effect of touring upon the artist's family life. And "The Flying Wallendas" -- the album's intended high point -- describes the rock show as the modern day circus and the rock musician who burns out -- rather than fades away -- is no different than someone like Karl Wallenda who fell from the wire in San Juan. I never saw part 2 of TBTD as a cohesive unit until after I had a copy with "Girls Who Smoke". After that, I was like, "Duh, Rev. Matt. Three years of Biblical studies at the seminary and you can't figure out the sequencing on a rock album."

One thing that intrigued me about TBTD is "Daddy Learned to Fly" opening the album. In interviews, Patterson said that the genesis of that song was getting on a plane and being struck with dread at the possibility of dying and leaving his young children behind. But with "The Flying Wallendas" there is sort of the acceptance that the rock and roll lifestyle -- even for those who don't take drugs and drink -- is not conducive to longevity. A musician can "fall from the wire" just as easily as Karl Wallenda. The family will be left behind. This point is driven home by making "Eyes Like Glue" the album's closer, which functions as a sort of coda where Cooley meditates on being a father. The album comes full circle.

[Smitty]

Is Patterson 'da man' or what?

[Lurleen McQueen]

Just for the record.

Patterson Hood makes me happy!

X587

[bovine knievel]

P Hood is man-crush worthy!

[Given to Fly]

Reason #4,302 why I love this band.

[Slipkid42]

I want my cocaine & strippers & a very warm analog board too. That is some quality insight, right there. Maybe that lack of distraction money has helped them stay focused (still don't seem fair). Thanks for sharing all of that.

[Zip City]

This is all well and good, and I'm glad it makes the band and many fans happy.

But the startup cost of a vinyl collection is not a luxury that many of us can afford

[Beebs]

You gotta be kidding me. It's stuff like this that makes it so easy to love this band and to understand their success.

And as always, thanks for making it happen Mark.

[Clams]

Cool. I'm just happy that listening in the supermarket has been officially sanctioned.

[SouthCarolinaRed]

This info from PH kicks ass! Agree w all above about this being a prime example of why I love this band. Caring enough to respond to 3DD is vintage DBT taking care of fans. As to format, I love my vinyl and its warm 'scratchiness'. Plus it happily reminds me of going to the record store as a kid (although my musical taste was questionable). CD keeps me rocking in my '04 Cherokee. It doesn't have one of those nifty portals to plug my iPhone in like newer rides. And digital covers me everwhere else! Access=DBT=happy SCRed!!


As an aside i really need one of those happy/crappy mugs.

[Smitty]

This is all well and good, and I'm glad it makes the band and many fans happy.

But the startup cost of a vinyl collection is not a luxury that many of us can afford

Sure it is; you don't have to get a top-of-line record player to start with, and the price of new LP's ain't that much higher than CD's used to be - not to mention the aftermarket price on vinyl is extremely affordable for the most part.

[cortez the killer]

I'm sure it depends on where you live, but I really, really enjoy spending time in a used vinyl shop and fingering through those musty smelling bins hoping to find another record on my checklist. They are typically under $5 per record 'round these parts (New England).

[Smitty]

I'm sure it depends on where you live, but I really, really enjoy spending time in a used vinyl shop and fingering through those musty smelling bins hoping to find another record on my checklist. They are typically under $5 per record 'round these parts (New England).

Since I don't have a decent record shop within an hour's drive, I do most of my shopping at thrift stores/pawn shops/flea markets; that's one of the most fun parts of collecting vinyl - around here, I very rarely pay more than a dollar for a record, but you do have to sometimes sift through hundreds of gospel/Leif Garrett albums to find anything worthwhile.

[RevMatt]

Vinyl is very affordable. You just have to get movtivated to buy the gear. Turntables can be found at garage sales, thrift shops and pawn shops. The important thing is the cartridge and stylus. You can get these at a stereo shop or online. For around $120 you can buy a new turntable that will also convert your analogue albums to mp3's for your ipod.

Once you have the gear the fun part begins, collecting vinyl. Used vinyl is the most cost effective way of building up your music collection. Here are a few of my most recent finds and the price I paid.

Eddie Hinton Very Extremely Dangerous $2.00 No, I did not put the decimal point in the wrong place. I got this classic in near perfect condition for two bucks. I would have been willing to pay twenty for it.

John Cale Sabotage/Live $5.00 This album, recorded at CBGB's in 1979, has been out of print for years.

Marty Robbins Gunfighter Ballads and Trail Songs $1.00 A classic

Waylon Jennings Dreaming Myy Dreams $4.00 This album, produced by Waylon and Jack Clement is a perfect example of analogue recording at its best. Perfectly warm. I think it is Waylon's best.

[Jeremy]

Vinyl is very affordable. You just have to get movtivated to buy the gear. Turntables can be found at garage sales, thrift shops and pawn shops. The important thing is the cartridge and stylus. You can get these at a stereo shop or online. For around $120 you can buy a new turntable that will also convert your analogue albums to mp3's for your ipod.

Once you have the gear the fun part begins, collecting vinyl. Used vinyl is the most cost effective way of building up your music collection. Here are a few of my most recent finds and the price I paid.

Eddie Hinton Very Extremely Dangerous $2.00 No, I did not put the decimal point in the wrong place. I got this classic in near perfect condition for two bucks. I would have been willing to pay twenty for it.

John Cale Sabotage/Live $5.00 This album, recorded at CBGB's in 1979, has been out of print for years.

Marty Robbins Gunfighter Ballads and Trail Songs $1.00 A classic

Waylon Jennings Dreaming Myy Dreams $4.00 This album, produced by Waylon and Jack Clement is a perfect example of analogue recording at its best. Perfectly warm. I think it is Waylon's best.

Amen brother. Doubt downloading an mp3 can give you the same rush.

[cortez the killer]

Downloading it probably won't give you as much of a rush. However, great music is great music no matter what fucking format it is on.

[rlipps]

I'm sure it depends on where you live, but I really, really enjoy spending time in a used vinyl shop and fingering through those musty smelling bins hoping to find another record on my checklist. They are typically under $5 per record 'round these parts (New England).

Did the same thing yesterday and ended up getting Some Girls, Southern Accents and Hard Promises on vinyl for less than $20.

[Steve French]

I want my cocaine & strippers & a very warm analog board too.

Let's re-form Led Zeppelin then. They had POTS of money, dirty girls galore, and that big fat analogue sound. (also Queen.... I digress)

This is so funny: Ive been having this online discussion with a guy I know about how great 70's albums sound and in particular the drum sound. Gonna cut and paste that for him right now.

[Flying Rabbit]

Yeah, new vinyl is usually a dollar or 2 more than the cd.

I don't usually pay more than $10 for used vinyl--not by choice, just because that's what it tops out at for most records. I've got probably about 500+ pieces of vinyl LPs and I don't think I paid more than $2 for most of them.

Go to http://www.gemm.com. There's tons of affordable stuff on there.

[Beebs]

fingering through those musty smelling bins

huh huh huh ...

[Clams]

fingering through those musty smelling bins

huh huh huh ...

great music is great music no matter what fucking format it is on.

amen

[beergut]

Awesome thread.
Thanks for clearing the air Patterson.

Two inch tape sure ain't cheap.

[RevMatt]

Awesome thread.
Thanks for clearing the air Patterson.

Two inch tape sure ain't cheap.

A reel of two inch tape goes for about $250. When I recorded, I could get about three songs -- average length 3.5 minutes -- on a reel of tape. But there are two speeds you can record on, from what I remember, and I always opted for the slower speed. My guess is that Barbe would use the faster speed with DBT since it produces even better quality. Probably DBT gets one to two songs per reel of two inch. Since the average DBT album has fifteen songs -- plus outtakes -- they probably budget for eight to ten reels, maybe more. So figure that tape alone for a DBT album is a bare minimum of 3 grand. If they use one reel of two inch tape for each song and keep more than one take of each song -- as many artists do -- double or even triple that amount.

[Zip City]

I don't have a room or area in my house dedicated to listening to music. I'm always listening while doing other stuff (driving, working out, using the computer, mowing the lawn, etc.). The only room that would even make sense for me to have a stereo system is the office, but I don't use that very often