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Post by Pickers Ditch on Sept 17, 2020 7:13:48 GMT
There's been a lot of discussion on here recently about pickups, recording etc. of resonator guitars and it set my mind to wondering which microphones were used to record those Blues players in the 1920s,30s, 40s.
Frinstance - Robert Johnson sitting in the corner using one mic. to record those classic songs - what did Don Law use?
What did Alan Lomax Sr. use?
Over to you experts.... I haven't got a clue.
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Post by snakehips on Sept 17, 2020 7:55:48 GMT
Hi there !
I think the idea of RJ sitting in a corner to record only came from Ry Cooder or something, but otherwise a lotta tosh.
I think by the time RJ was recorded, they were using multiple mics when required.
I think I read somewhere long agon athtat they may have had a 2nd mic on RJ's foot tapping - but again, that might be made up by an over-enthusiastic "expert".
It is feasible that they at least had a mic for the guitar and a mic for the vocal.
Ribbon mic, I think. (It's been a while since I read up about microphones though).
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Post by Michael Messer on Sept 17, 2020 8:34:21 GMT
PD, I could write quite a lot about recording techniques from that time. Back in 2004 Chris Rea and I were discussing the idea of recording a series of 78s together and I did a fair amount of research on the subject and spoke to some amazing old timers that made records in the early days. I also, back in the 90s, used to visit the legendary British recording engineer, John R.T. Davies, and I learnt a lot from him.
Shakehips, you are correct about more than one mic being used in the mid 1930s. In fact the two mic technique came into existence in 1928 I think. However, this would very likely not have been used to record a solo musician. I think you can tell from the balance and the detail in the sound that Robert was recorded with one mic. I doubt if they miked his foot and if they did, they forgot to plug that mic in because it is not audible.
Highly likely they recorded RJ with something from the RCA 44 or 77 range.
Don Law was a genius. As well as recording Robert Johnson and Bob Wills Texas Playboys early records, Don also produced numerous 1950s Nashville recordings, including Marty Robbins and Johnny Cash. Along with Chet Atkins, we have Don Law, a boy from Leytonstone, London, to thank for what became known as the Nashville Sound.
Gotta go... I'll return to this later
Shine On
Michael
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Post by snakehips on Sept 17, 2020 9:11:01 GMT
Hi again !
I never really believed the recording his foot stomping, either !
I lot of things get guessed/imagined by someone who doesn't really know, then it gets regurgitated enough times by various subsequent sources, that it becomes "fact", even though often there can be plenty reasons why it's nonsense - yet no one seems to debunk the myth.
It's the same thing with Elmore James reportedly wiring his guitar pickups in some mysterious way to get his special tone - like wiring them up In-Series, instead of the usual In-Parallel. Utter nonsense !
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Post by bonzo on Sept 17, 2020 9:39:33 GMT
Brings to mind a South African pianist, known then as Dollar Brand. Part of his performance was foot stomping as he played. My friend Bill Smith recorded him in a small library venue in Toronto. Great show enjoyed by all and we couldn't wait to here the mastered results. Flat as a pancake. The guys running the mixing board told us afterwards how pleased they were that they had managed to keep the foot stomping and other 'extraneous'noises out of the mix! Arrrrgh!
Best wishes to you all, John
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Post by pete1951 on Sept 17, 2020 11:53:32 GMT
There are a load of images of Alan Lorax out there, but most show him at the tape recorder, and no mic. Others may have better luck ( and better eyes) I am sure there are images of field recordings with the mic somewhere.  Pete The small square was meant to be a cartoon tape recorder and mic, but technology has defeated me again |
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Post by Brad Bechtel on Sept 17, 2020 15:55:09 GMT
Here's an interesting look at the history of microphones: coutant.org/12mics/I'd guess it's almost impossible to say which specific mics were used for a specific session almost 100 years ago, especially in the "race" musical genre. |
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Post by slide496 on Sept 17, 2020 16:05:56 GMT
Here's some background on the changing recording equipment and technologies that Lomax used over the years, but there's no mention specifically as to the microphones he used: archive.pov.org/lomax/background/ |
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Post by meanstepfather on Sept 18, 2020 6:55:16 GMT
I found this which lists Alan Lomaxes gear for his "Southern Journey"trip,which I think was when he did those beautiful recordings of Fred McDowell.It lists one Altec lipstick mic.and three RCA DCA 77 mics..We can only guess at the configuration/set up.As for his earlier later gear and the gear his dad John used who knows?!!.
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Post by ken1953clark on Sept 18, 2020 7:41:38 GMT
I like the “2 tennis racquets”
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Post by meanstepfather on Sept 19, 2020 7:43:32 GMT
I like the “2 tennis racquets” Handy for miming along to Fred McDowell.  |
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Post by Pickers Ditch on Sept 19, 2020 8:36:10 GMT
Thought for the weekend. If Don Law used an RCA 44 type*, was he using the fact that it is a bi-directional mic. so RJ faced into the corner of the room with the mic in font of him. The mic then picks up direct from RJ at the front and the back picks up the reflected sound from the corner - gnats cock phasey delay? That might explain that much debated question "Did RJ have two top strings on his guitar?" and that "chorusy sound". I dunno - just my warped imagination going off sideways in the wee hours again, I s'pose. * www.coutant.org/rca44bx/ |
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Post by Deleted on Sept 19, 2020 8:45:41 GMT
I like the “2 tennis racquets” Early attempt at a pop shield? |
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Post by bonzo on Sept 19, 2020 8:57:26 GMT
They could serve as that!
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Post by ken1953clark on Sept 19, 2020 9:02:16 GMT
Snow shoes?
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