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Los Angeles Times
19-05-2025
- Entertainment
- Los Angeles Times
This rare, hands-on recording museum highlights the sonic legacy of guitar god Les Paul
About 80 years ago, guitarist and inventor Les Paul built a home recording studio in his Hollywood garage on North Curson Avenue and began developing his 'new sound,' which incorporated cutting-edge recording techniques such as overdubbing, close miking, echo and delay. Dissatisfied with the quality of the day's commercial recordings, Paul, who'd worked with pop stars including Bing Crosby and the Andrews Sisters, and was a guitar virtuoso and bandleader, endeavored to push the practice forward — to make recording a kind of erudite art form. His instrumental single 'Lover' became the first commercial pop record to incorporate multiple layers of music, all of which were performed by Paul's dexterous fingers. 'Sextuplet guitar-ing,' Billboard magazine declared in its Feb. 21, 1948, review, '... technique so good it's ridiculous.' Today, a new studio in Hollywood celebrates the former Angeleno's legacy as a recording pioneer. Over the last three years, the Les Paul Foundation and a team of engineers have gone to extraordinary lengths to build the Les Paul Recording Studio, housed in United Recording on Sunset Boulevard. The facility includes Paul's original equipment, such as the first-ever multitrack Ampex tape machine and multitrack recording console, as well as a selection of Paul's customized guitars, including his namesake model for Gibson. Paul's recording equipment is monumental for its historical value but also because it still works. 'We have the Wright Brothers' plane in there and it actually flies,' said Michael Braunstein, executive director of the Les Paul Foundation, by way of comparison. The new studio is essentially a rare hands-on museum where students and commercial artists may study and perform the same techniques Paul employed, using his tools. Los Angeles-based musician Dweezil Zappa interviewed Paul on MTV in 1987, which created a fondness between the pair. During a phone call from the road — Zappa was on a tour celebrating his father's album 'Apostrophe' — he explained the importance of Paul's innovations. 'He was so far ahead of the game in so many ways, not only as a great guitar player, but also how he figured out ways to record music live,' he said. 'The foundation of the sound capture is still better than anything else that you would find today. The products that were put into use and the way that it was machined … it's unmatched.' Zappa says he's visited the new studio and intends to use it to record some of his own music after his tour concludes. The studio also has an educational mission. 'This is also a real opportunity for students to learn about analog recording from the master,' said Steve Rosenthal, a Grammy-winning producer who serves as the head archivist and music producer for the Les Paul Foundation. Rosenthal's also known for his Manhattan recording studio the Magic Shop, which closed in 2016, where he worked with David Bowie, Lou Reed, Sonic Youth, Ramones and many others. Groups from Carnegie Mellon University and Syracuse University have already participated in seminars at the studio led by Rosenthal and Tom Camuso, a Grammy-winning engineer who's also the Les Paul Foundation's director of audio engineering. 'The console looks like it's from a battleship, and we let students record on it and see how hard it is compared to today's digital audio workstations,' Camuso explained. 'The connection they make is that this is where it started, this is the first of all of it.' The idea for the studio began in 2022 amid Rosenthal's quest to source, organize, curate and restore Paul's vast catalog of music from the Library of Congress archives. 'It became clear to me that the best solution would be to mix the music on Les' original gear,' he said. He brought in Camuso, a longtime associate who'd worked at the Magic Shop, and the pair endeavored to repair the eight-track recording console nicknamed 'The Monster' that Paul built with engineer Rein Narma, which featured leading-edge in-line equalization and vibrato effects. They also retrieved Paul's Ampex 5258 Sel-Sync multitrack tape machine, familiarly known as the Octopus, which sits alongside the console, and was the first-ever eight-track. The studio also has a three-track machine that was in Paul's home in Mahwah, N.J., which he used to play tapes recorded at other studios. At the time, Paul was the only person with eight-track capabilities. 'That was his way of communicating with the outside world, so to speak,' Camuso said. The equipment was in varying stages of disrepair, and there was no documentation accompanying it. Many of the recording console's wires had been cut, and some of its modules were missing. Camuso and a group from Thump Recording Studios in Brooklyn spent 10 months replacing and repairing pieces that were missing or had failed, without changing anything about the way the machine was originally made. 'We had to source old stock parts from the '50s,' Camuso said, 'and there were little plastic pieces that had disintegrated. The team would drum scan those and then 3D print them in their original form.' An Ampex expert from Canada broke down the tape machines and then rebuilt them from the ground up, exactly as they were when Paul used them. Before he used the multitrack tape machine and recording console, Paul's early experiments with overdubbing, or what he called 'sound on sound,' involved two recording-cutting lathes, a record player, a mixer and hundreds of blank wax discs, all of which he used to layer tracks manually. In 1948, Bing Crosby gave Paul his first mono Ampex recorder, to which Paul added a second playback head, which enabled him to record multiple tracks on the same reel of tape. He and his second wife, Mary Ford, took this machine on the road, recording their songs in hotel rooms and in apartments. Ford was a skilled singer with perfect pitch who could execute lead vocals and harmonize with herself in very few takes using Paul's early version of multitracking, which was revolutionary but primitive and didn't allow for mistakes. Given the analog nature of Paul's setup, she had to sing everything live and unmanipulated. The pair recorded a string of 28 hit singles between 1950 to 1957, beginning with a cover of the jazz standard 'How High the Moon.' They were so popular that Listerine sponsored a widely syndicated television show, 'Les Paul & Mary Ford at Home,' during which they performed their intricate songs live. 'Their discs sell like dimes going for a nickel,' Florabel Muir reported in the Los Angeles Mirror in January 1952. The pair's 'Vaya Con Dios' spent 11 weeks at No. 1 on the Billboard Best Sellers in Stores chart (which was discontinued in favor of the Billboard Hot 100 in 1958). Paul and Ford's sultry version of 'Smoke Rings,' released in 1952, features in Todd Haynes' 2015 film 'Carol.' 'The only singer I've encountered in my life who can compare to Mary is Aretha Franklin,' said Gene Paul, Les' son from his first marriage, who became a recording engineer for Atlantic Records. 'Neither one of them ever hit a bad note. You couldn't pay them to.' The younger Paul learned about recording in his father's home studio in Mahwah and played drums in his touring band from 1959 to 1969. 'It took me years after my dad died to realize he was a genius,' he added. 'Yes, he had a studio in his house, and built his own guitar and his own eight-track, but I thought every dad did this.' Rosenthal and Camuso are in the process of restoring Paul's original recordings, including his hits with Ford. The pair is using demixing and speed correction software to create new stereo mixes of the songs, which don't have any of the crunchiness or distortion that were a byproduct of Paul's original experiments in multitracking. It'll be the first time any of Paul's music has been released in stereo. The project has created a library of multitrack stems, which is another singular feature of the new studio. 'Lana Del Rey could come in and sing with Mary Ford, or she could sing 'A Fool to Care' with the original Les Paul guitar parts,' Rosenthal said. Camuso says a number of famous musicians have already expressed interest in using the new studio. 'There's lots of people who would be in your record collection for sure,' he said. Its historical significance and superior sound quality is a major draw, but the Les Paul Recording Studio also provides a chance for musicians to work more intentionally. Though its equipment was once cutting-edge, by today's digital standards — in which there are unlimited tracks and effects and every mistake is erasable — Paul's console and tape machines are limited. To work with them, musicians must think about what they want to record ahead of time. 'The average person may not know what they're hearing, but they will feel it because the performances will be better,' Zappa pointed out. He views the new studio as a welcome counterpart to the too-perfect sonic monotony that can occur from every commercial recording artist using the same software. 'There's just so much music that's disposable today,' Zappa added. 'We've never had as many amazing tools to make stuff, and then have it be used in the lamest way possible.'
New York Times
26-02-2025
- Entertainment
- New York Times
An Early Bob Dylan Recording Hits the Auction Block
On Sept. 6, 1961, a little-known 20-year-old calling himself Bob Dylan took the stage at the Gaslight Cafe in Greenwich Village and played a six-song set. More than 60 years later, a reel-to-reel tape of those songs has gone up for auction. Only about 20 people were at the short performance, but it is well known to folk-history fans and Dylanologists partly because it was preserved on tape. Terri Thal, Dylan's manager at the time, brought a bulky Ampex recorder in a leather case to the show and set it up on a table at stage left. Dylan knew she was going to record, Thal said: 'He programmed his set as an audition.' That set, performed more than three decades before the birth of Timothée Chalamet — up for an Oscar this Sunday for his portrayal of Dylan — included 'Talkin' Bear Mountain Picnic Massacre Blues,' 'He Was a Friend of Mine' and 'Song to Woody,' a reference to Woody Guthrie. The recording became a tool that Thal used to try to persuade out-of-town clubs to book Dylan, who had acquired something of a reputation among the cognoscenti in the Village but wasn't well known elsewhere. Now, the tape, described by RR Auction in Boston as 'Dylan's earliest demo recording,' is being offered for sale along with other Dylan-related ephemera, including a sequined suit from his 1975 Rolling Thunder tour and a Martin D-41 acoustic guitar he gave to Bob Neuwirth, a musician who was instrumental in assembling the band for that tour. The recording is significant, said Mark Davidson, the senior director of archives and exhibitions at the Bob Dylan Center in Tulsa, Okla., because it documents a performance by someone on the cusp of fame and before he fully developed his own inimitable style. 'He's still sort of in that Woody Guthrie jukebox phase,' Davidson said. Richard F. Thomas, a classics professor at Harvard University and the author of 'Why Bob Dylan Matters,' said that at the time of the Gaslight show, Dylan was a 'young genius committed to his art and his performance' but who was 'still trying to make it.' It was indeed a seminal time for Dylan. Days after that performance, he met John Hammond, a producer and talent scout, often credited with discovering Dylan. And just weeks later in The New York Times, the critic Robert Shelton described Dylan as 'a bright new face in folk music,' a 'cross between a choir boy and a beatnik' who performed with 'originality and inspiration.' Within a month Dylan had signed with Columbia Records. Thal said that she met Dylan soon after he arrived in New York, through her husband, the folk singer Dave Van Ronk, whom Dylan admired while growing up in Minnesota. For a while, Thal said, Dylan was a regular visitor to their home in Manhattan, where he wrote and practiced early versions of 'Talkin' Bear Mountain Picnic Massacre Blues.' That song, Davidson said, was inspired by a newspaper clipping about an ill-fated boat trip that Noel Paul Stookey, a member of Peter, Paul and Mary, gave to Dylan. Months before the Gaslight show, Dylan asked Thal if she would manage him. (She was already Van Ronk's manager.) Thal quickly agreed. 'I thought he had a touch of genius,' she said. 'He was not a great guitarist, he was not a great singer. But he had developed a presence, and it was incredibly distinctive.' The Gaslight, a cellar establishment on MacDougal Street, where The Times reported, 'the delicate finger-snap is the mark of thundering applause,' was one of Dylan's early haunts. He described it in his 2004 memoir, 'Chronicles: Volume One,' as 'a cryptic club' where performers hung out in an upstairs room reached via fire escape and played poker between sets, with bets generally ranging from a nickel to a quarter. ('I usually folded my cards if I didn't have a pair by the second or third draw,' Dylan wrote, adding that the singer Len Chandler told him: 'You gotta learn how to bluff.') The cafe was also important in his development as a professional musician: a venue that paid. After being booked there, he wrote, he 'would never see the basket houses again,' referring to spots where people passed the hat to collect donations for performers. According to a chronological account of set lists on Dylan's website, the 1961 Gaslight show was among his earliest performances, and just the second in New York City. A small number of these shows had been recorded, including Dylan's first listed performance in New York, as part of the Riverside Church Hootenanny Special, a 12-hour marathon that took place inside the church theater. But Thal's recording was the first to be created in a professional capacity, with the aim of obtaining work for Dylan, said Bobby Livingston, an executive vice president at RR Auction. He added that the auction house was selling the tape as an artifact owned by Thal and that she did not purport to own the rights to its songs. Livingston estimated that the tape would fetch at least $25,000 at auction. Of course, that doesn't include the cost of a working reel-to-reel machine, which, if eBay is any guide, could add a few hundred or a few thousand dollars. Unauthorized versions of the Gaslight performance have long circulated. Thal believes that someone made and kept a version without her permission when she went to a studio to have the Ampex reel copied, so she would not have to bring the original with her when she visited clubs. In addition to the songs performed at the Gaslight, the tape includes an embryonic version of 'Mr. Tambourine Man,' with Dylan accompanied by a piano. That was added to the tape later by a friend, Thal said. By that time, she no longer managed Dylan, having been replaced by Albert Grossman. Thal said she obtained gigs for Dylan including at Gerde's Folk City, which was cited by Shelton in his Times article. But even though she played the Gaslight tape for bookers in Boston, Philadelphia and Springfield, Mass., they passed on Dylan. 'The guy in Springfield laughed at me,' she said. Another booker, she said, asked: 'Why should I hire a Jack Elliott imitator,' a reference to the singer-songwriter Ramblin' Jack Elliott. Thomas, the classics professor, pointed out that seeing Dylan live was a big part of what made him so compelling. That could explain why some of those who listened to the Gaslight tape without having seen him play might not have been swayed. 'The magic of Bob,' he said, 'is that everything comes together in performance.'
