Sadly the Musicians' Hall of Fame in Nashville is closed and looking for somewhere to re-open right now, but all that great recording studio memorabilia is not completely lost, because they've been putting up some great videos featuring some of the great studio musicians. Here's a clip about Lyle Ritz and the bass he played on numerous hits. Be sure to check out the Hall of Fame's channel on YouTube for much more.
Here we have a photo from an unknown session, at an unknown studio. But who better to have playing your session? In addition to being a fine jazz guitarist, Howard Roberts played plenty of pop sessions. To the right is Tommy Tedesco, with pianist Al DeLory popping out from behind. Ray Pohlman's in the shades and Lyle Ritz is on string bass.
Check out the great lineup of Fender Amplifiers. Have these ever been bettered? Note that Pohlman is playing a double-cutaway Danelectro 6-string bass. This is responsible for the tic-tac sound on a lot of records, or just for giving more definition to a bassline. He's playing it through a Bassman, which was actually considered a bass amp at the time.
Interesting to note also that there seem to be two pianos on this date, set up side by side; it doesn't seem to be a mirror-image.
We hope to bring you more regular content from now on, so watch for it! We also would like to ask anybody with an interesting story, photo, or question about 60s recording studio culture to contact us -- we love learning new things about this topic!
By Josh Hoisington and Craig R. Clemens At "Classic Studio Sessions" our main goal is to preserve the culture and body of knowledge surrounding the golden age of pop/rock recording studios. While the focus is on the classic studios of Los Angeles and the "Wrecking Crew" musician culture, we're also concerned with New York, Detroit, Nashville, London, and anywhere great records were made. The questions this blog hopes to answer are along the lines of: "What person played what instrument on this classic track?" "What was it like to work at United/Western Recorders?" "What was it like to meet Lanky Linstrott?" While we will explore questions like "how did they get that sound?" our concern is not merely with replicating the sound of the record, but most importantly carrying on the tradition of the great engineers, so that their knowledge (whether we use it on our own records or not) is not lost to history.