This was posted on the DBT board by their web guy who asked PH about analogue recording of their albums. There was a bit of discussion over there as to whether or not they were recorded as such. Thought some of you might like to read:
Patterson Hood Wrote:
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
.gif)
