Sunday, April 20, 2008

(part 55-b) Technical Schmechnical

I would like to clarify some of the points, for those who are interested, regarding technical problems encountered in the making of "Color Him In." There are specific differences in the Mono and Stereo versions of the album. The mix is better on the stereo version, if for no other reason than separation. The mono mix is somewhat cluttered and crushed. When I say the album did not finish the same way it was started it's things like this that I'm referring to. Rather than a slow deliberative mix the album in some cases suffers from a rush job.

"Right By My Side" "I Love You More Than You Know" and "The New Age" all have this problem. The mix on these three songs is muddier than others especially in the mono mixes. The stereo version is somewhat better, but the mix on these three songs in particular have too much bass, not enough mid-range, and an overall lack of high end, which is a problem for the album in general.

The whole process was done with a lack of regard for the final product. It doesn't much matter what you cut in the studio if you can't hear it clearly, or at all, in the end product. The process of mixing sound is like editing a film properly. You may have it on film, but it may be sitting on the editing floor.

In this case a lot was lost in the mix, making it so muddy that it is hard to make out. Curt Boettcher himself, in an interview I read, stated that the mix was awful. It suffered because of the two things I mentioned in the last post. Rushed, because of money, and a lack of attention due to problems with other groups that Curt and Steve Clark were working with.

The Association, Tommy Roe, and Joe South, who was with Steve Clark's Southern partner Bill Lowery, in Atlanta, were all demanding attention from Steve and Curt Boettcher at the same time "Color Him In" was being completed.

(part 55) COLOR HIM IN: KRLA BEAT 1967

Verve Recods poster of Me, Frank Zappa, and Janice Ian


Cover of KRLA BEAT for "Color Him In" release in 1967