Recording - July 2019 - 62

Throwback

to the Future

amplifier boasting a series of vacuum
tubes and a giant knob which controlled
the input level. This first amplifier design
was crucial in order to create enough
power necessary to move the stylus back
and forth at the cutting lathe or recording
turntable. Once again, performers had but
only 3-4 minutes to give it their best shot.
As a weighted pulley system moved
the turntable, the recording stopped once
the cranked up weights hit the floor, creating a recording time entirely dependent on the length of the rope holding
the weights. As the weights fell, a sort of
braking system controlled the speed of
the turntable motor until the desired RPM
(revolutions per minute) was reached. At
the recording head, a small suction tube
sucked away waxy tidbits as the needle cut about 90 groove lines per inch
onto the 12" disc. This electrified way
of recording opened the floodgates for
engineers. As the frequency response for
the Western Electric ranged from about
50Hz-6kHz, a stark improvement over
the 250Hz-2.5kHz of acoustic recording
systems, capturing the detail and intimacy of an artist's performance became a
very real possibility. And suddenly, the
recording studio wasn't just a place for
big belters and sassy ladies.
Blind Lemon Jefferson must have experienced a sort of happy disorientation
during his first electrified session around
1926, after years of whaling into a
horn. Some Blues aficionados claim that
you can actually hear Jefferson's lack of
familiarity with the sensitivity in a distorted vocal of "Black Snake Moan,"
allegedly one of his first tries on an electric system, which was likely recorded at
Marsh Laboratories on the 7th floor of
the Lyon & Healy building in Chicago.
While the system he played into probably resembled the Western Electric
somewhat, engineer Orlando Marsh
was using his own electrified recording
device by 1924, a year before the unveiling of the Western Electric.
With Blind Lemon's transition from
acoustic to electric recording, it undoubtedly showed the labels that a subtler,
62 RECORDING July 2019

singular player would translate exceptionally well through the new technology. So when a young bluesman from the
Mississippi Delta enlisted the help of local record store owner H.C. Spier to get
him a shot at recording for Paramount,
the label jumped at the chance.
Charley Patton recorded his first sessions for Paramount Records in the summer of 1929, perhaps using a Western
Electric 47A microphone, but more likely a cheaper ripped-off version. Recorded at Gennett Records-a small shack in
the back of the Starr Piano Company in
Richmond, Indiana-the Patton sessions
were somewhat of a rush job. From the
onset, Paramount was a company most
interested in making money over making
history, though in the long run it seems

sapphire balls, and probably used less
expensive wax blank discs with uneven
flatness in an effort to save coin. That
combo created a strong potential for variance in groove depth during the cutting
of the masters and therefore, transfers
for many of Patton's songs have suffered
noticeably poor sound quality from this
flaw. But despite the scratchiness of his
recordings, Charley Patton became a celebrity in the few years before his death
in 1934. The first country Blues musician
to really make it from the Delta region,
he would go down in history as the head
of that family tree, having personally
mentored and inspired a generation of
bluesmen right behind him that included
Howlin' Wolf, Robert Johnson, and ultimately Muddy Waters.

weSTern elecTric 47a Mic

they did a fair share of both. While
they were leasing electrified recording
technology from Western Electric and
RCA during the mid-Twenties, evidence
suggests that Paramount was always
cutting a corner somewhere. For a time,
it seemed that Paramount was using
an inferior record material or "biscuit"
at Gennett, and received a plethora
of negative feedback from customers,
claiming that the electrically produced
records had no shelf life after multiple
plays on a basic phonograph.
Paramount favored cheaper recording needles, skipped the more reliable

In fields of gold

By the time of the Great Depression,
record sales were in steep decline. Many
labels had either closed down their "race
records" divisions, or dissolved entirely.
By 1932 Paramount had shut its doors,
despite all the corner-cutting. Because the
average consumer was no longer willing
to spend the 75 cents or so to purchase a
record, the cheaper, whiter market of radio
broadcasting won the ears of the nation.
Still, even though the public was no
longer interested in buying music from the
South, there were two men still very eager
to record what it had to offer. John Lomax



Recording - July 2019

Table of Contents for the Digital Edition of Recording - July 2019

Fade In
Fast Forward
That One Mic: Electric Guitar
Christone "Kingfish" Ingram: Capturing the sound of blues guitar
IK Multimedia AXE I/O
IK Multimedia iRig Stomp I/O
BOSS Waza Craft CE-2W Chorus and DC-2W Dimension C
Lauten LS-308
Strymon Volante
Vance Powell - recording and mixing the Stray Cats latest album 40
PSI Audio A17-M
STL Tones STL Tonality–Howard Benson
LEWITT LCT 040 MATCH
Throwback To The Future
GFI System Clockwork Delay V3
Recording - July 2019 - Intro
Recording - July 2019 - Cover1
Recording - July 2019 - Cover2
Recording - July 2019 - 1
Recording - July 2019 - 2
Recording - July 2019 - 3
Recording - July 2019 - Fade In
Recording - July 2019 - 5
Recording - July 2019 - 6
Recording - July 2019 - 7
Recording - July 2019 - Fast Forward
Recording - July 2019 - 9
Recording - July 2019 - 10
Recording - July 2019 - 11
Recording - July 2019 - That One Mic: Electric Guitar
Recording - July 2019 - 13
Recording - July 2019 - 14
Recording - July 2019 - 15
Recording - July 2019 - Christone "Kingfish" Ingram: Capturing the sound of blues guitar
Recording - July 2019 - 17
Recording - July 2019 - 18
Recording - July 2019 - 19
Recording - July 2019 - 20
Recording - July 2019 - 21
Recording - July 2019 - IK Multimedia AXE I/O
Recording - July 2019 - 23
Recording - July 2019 - 24
Recording - July 2019 - 25
Recording - July 2019 - IK Multimedia iRig Stomp I/O
Recording - July 2019 - 27
Recording - July 2019 - 28
Recording - July 2019 - 29
Recording - July 2019 - 30
Recording - July 2019 - 31
Recording - July 2019 - 32
Recording - July 2019 - 33
Recording - July 2019 - BOSS Waza Craft CE-2W Chorus and DC-2W Dimension C
Recording - July 2019 - 35
Recording - July 2019 - Lauten LS-308
Recording - July 2019 - 37
Recording - July 2019 - Strymon Volante
Recording - July 2019 - 39
Recording - July 2019 - Vance Powell - recording and mixing the Stray Cats latest album 40
Recording - July 2019 - 41
Recording - July 2019 - 42
Recording - July 2019 - 43
Recording - July 2019 - PSI Audio A17-M
Recording - July 2019 - 45
Recording - July 2019 - 46
Recording - July 2019 - 47
Recording - July 2019 - STL Tones STL Tonality–Howard Benson
Recording - July 2019 - 49
Recording - July 2019 - 50
Recording - July 2019 - 51
Recording - July 2019 - 52
Recording - July 2019 - 53
Recording - July 2019 - 54
Recording - July 2019 - 55
Recording - July 2019 - 56
Recording - July 2019 - 57
Recording - July 2019 - 58
Recording - July 2019 - 59
Recording - July 2019 - Throwback To The Future
Recording - July 2019 - 61
Recording - July 2019 - 62
Recording - July 2019 - 63
Recording - July 2019 - 64
Recording - July 2019 - 65
Recording - July 2019 - 66
Recording - July 2019 - 67
Recording - July 2019 - 68
Recording - July 2019 - 69
Recording - July 2019 - LEWITT LCT 040 MATCH
Recording - July 2019 - 71
Recording - July 2019 - GFI System Clockwork Delay V3
Recording - July 2019 - Cover3
Recording - July 2019 - Cover4
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