In my working on the Paul Yandell book Paul says this
I recorded with Chet at different places, mostly at his house, but we sometimes recorded at the RCA studios. I did many sessions there. I always wondered, and I never thought to ask, (and I remember when they did it) was why did they shut down Studio B.? It was the best studio in town. It was my favorite studio to work in. Jerry Reed did about all of his recording there.
The Scotty Moore site says something about a union issue but it's vague.
I don't know anything about the closing Norm, but Dianna and I toured it back in December when we were in Nashville and visited the Country Music Hall of Fame, the tour originates from the CMOH, pretty neat place and lots of history there...
I don't know anything about the closing Norm, but Dianna and I toured it back in December when we were in Nashville and visited the Country Music Hall of Fame, the tour originates from the CMOH, pretty neat place and lots of history there...
I recorded an album there with one of my bands in 1995-1996, and did some sideman work on another, but the console is all digital now-- not the same as the Chet days. Same checkerboard floor, though. It was a bit interesting having recording sessions while there are tours going on on the other side of the glass... makes you sort of feel like a monkey in a zoo.
There's a beautiful studio not far from where I live. The owner just went to Nashville and picked up an isolation booth from RCA. The manufacturer he contacted told him the name it originally shipped to was Chet Atkins. The new owner bought it from what he called, "RCA #1."
a guy on the steel guitar forum gave me this which makes sense, particularly since I saw two claims that it was a union issue. I thought it was the musicians union. If this guy is right I'm wrong but, as I said, his answer makes sense.
I'm not sure if that article (on Scotty Moore site) is correct....but assuming its right, the engineers back then were mostly union members. This is not true today. Tennessee is a right to work state. Bringing in gifted non union engineers could be the reason to blackball a specific studio. Most of those second machine engineers did not survive the freelance transition because most could not make a tight punch if their life depended on it. Yet, the union’s rules demand the producer/artists/musicians could not touch the machines. Only the union engineer could do the task. How frustrating that is especially after they lose great parts or a completely great take because of a botched punch…I can understand artists and producers moving to find a union free environment for engineering.
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In my working on the Paul Yandell book Paul says this
I recorded with Chet at different places, mostly at his house, but we sometimes recorded at the RCA studios. I did many sessions there. I always wondered, and I never thought to ask, (and I remember when they did it) was why did they shut down Studio B.? It was the best studio in town. It was my favorite studio to work in. Jerry Reed did about all of his recording there.
The Scotty Moore site says something about a union issue but it's vague.
Anyone know any more about it?
I don't know anything about the closing Norm, but Dianna and I toured it back in December when we were in Nashville and visited the Country Music Hall of Fame, the tour originates from the CMOH, pretty neat place and lots of history there...
I don't know anything about the closing Norm, but Dianna and I toured it back in December when we were in Nashville and visited the Country Music Hall of Fame, the tour originates from the CMOH, pretty neat place and lots of history there...
I recorded an album there with one of my bands in 1995-1996, and did some sideman work on another, but the console is all digital now-- not the same as the Chet days. Same checkerboard floor, though. It was a bit interesting having recording sessions while there are tours going on on the other side of the glass... makes you sort of feel like a monkey in a zoo.
did you fling any poo?
Uh... you should never say you felt like a monkey in a zoo ever again.
Unless *this* is what that actually felt like, that is.
And there was a PEANUT in the turd, no less ! ! !
HAHAHAHAHAHAHA
how poetic
... the monkey would have died.
There's a beautiful studio not far from where I live. The owner just went to Nashville and picked up an isolation booth from RCA. The manufacturer he contacted told him the name it originally shipped to was Chet Atkins. The new owner bought it from what he called, "RCA #1."
Wow, that monkey story has to be the biggest derail in the history of the GDP.
Why did studio b close?
Because a monkey in a chinese zoo ate a peanut and a zoo keeper liked the monkey's anus until the peanut poop popped.
getting back to the question...
a guy on the steel guitar forum gave me this which makes sense, particularly since I saw two claims that it was a union issue. I thought it was the musicians union. If this guy is right I'm wrong but, as I said, his answer makes sense.
I'm not sure if that article (on Scotty Moore site) is correct....but assuming its right, the engineers back then were mostly union members. This is not true today. Tennessee is a right to work state. Bringing in gifted non union engineers could be the reason to blackball a specific studio. Most of those second machine engineers did not survive the freelance transition because most could not make a tight punch if their life depended on it. Yet, the union’s rules demand the producer/artists/musicians could not touch the machines. Only the union engineer could do the task. How frustrating that is especially after they lose great parts or a completely great take because of a botched punch…I can understand artists and producers moving to find a union free environment for engineering.