We're back!

[rhill@pnet01.cts.com (Ronald Hill)]

Welcome back to everybody, including me!   I guess my theory wasn't true after
all, luckily.  Gaffa going down seemed to coinicide with other upsets in my
life - the heat affecting my health, the Price Club I work at firing at least
11 people (not me!) all at once for getting free pizza at the pizza stand, and
a couple other problems.  But the heats gone and Gaffa's back so things are
looking up!  
        I got the pictures from the 1991 San Jose Katemas party and I will
make sets for those who want them for 3 dollars.  Please leave me a message
right away as I don't expect to make more than one group of sets.  The
pictures all came out well and are: 

Group shot - don't ask me who's who!! 
Another shot just like the first. 
The Band playing. 
Another simular shot. 
Full Body "Action shot" of Andrew singing his part.  
Another simular shot. 
The two singers. 
Later group shot of half the people, including me! (remote control camera) 

        Also, I believe someone took a shot of me examining the Cloudbusting
video, I was too wrapped up to know who was who!  I wood like to get that if
possible! 

        Look for some more transcriptions of radio interviews coming right at
you.  I am not entirely sure what I posted so there may be a few repeats. 

        KELLY TORANCE: Welcome to Love-Hounds!  I have a special affinity for
Canada as that's where I took my first solo vacation back a few years ago and
had a GREAT time.  As far as lryics, the definative collection is available in
the archives in THE GARDEN.  Jorn Barger will probably mail you the
Love-Hounds intro letter, if he hasn't already, if not it is posted here every
month.  It explains where the archives are.  While there you may want to pick
up Cloudbusting also which will make you an instant "expert" on Kate.  Impress
your friends! ;-)  Here's a quote from Kate about Canada:

WHAT DO YOU KNOW ABOUT CANADA? 
        I know very little about it.  I wish that I had more time here to
actually go and see the country because it's one of the most beautiful
countries in the world.  I've only seen it on film, but it's beautiful.  
(1985, Good Rockin Tonight)


        Jorn asked about analogue/digital recording - look under EQUIPMENT in
Part III of Cloudbusting, there might be others - try searching "analog"
rather than "digital".  Some of this is rather obscure for those of us who
don't know about recording equipment, but here it is: 

        We now have an SSL. It's an expensive board, but not the most
expensive, and it's very versatile. It has a good sound, and all those
facilities. For the money the Soundcraft was great, but the SSL is much more
efficient to work with. On the last album we spent a lot of time working
around the desk, and on this one it was just working around me.
        We're still using two A80s - we work on 48-track all the time,though
it drives people crazy. When you get outside people in, you can see their
impatience with the machines. We use them with the Lynx, though we used to
have a Q-Lok. I'm not sure there's that much in it, but I think the Lynx is
quicker. It would be even better if we had 800s. The A80s seem a bit archaic
now.
        With outboard, I love the Quantec. It has a crystalline quality to it,
very distinctive. I use it on instruments sometimes, but particularly vocals.
We've got two Lexicons - the 224 and the 224X. We hire stuff in when we mix
outboard eqs, like a couple of old Pultecs, they have a really warm sound -
warmer than the SSL eq.
        We master analogue half inch. A lot of noise, but I still prefer
working analogue. At this point we've found it wise not to change machines
mid-stream.
        Monitoring is on AR18s, and we did get some Gold Spot Tannoys,they're
useful for some things, though generally we stick to the 18s, and Auratones.
We don't use big speakers. We had some but they sounded awful.
        As we have a Fairlight, it tends to negate us getting in other
sampling gear. We're pretty well covered with the Fairlight and the DX7 for
keyboard and the quality of the Fairlight is much better, though so difficult
to use. Everyone says that. I used to programme it myself, but since the new
software ... I can't keep up. They keep changing it as soon as I learn to
programme it.
        Sometimes we're happier just flying in the half-inch, the old
fashioned technique. There's something about it - I quite like the purist
approach. Like tape delay - you can't get that same sound. It doesn't have the
sa presence, it has a whispy quality. With tape delay it's lovely.
        I guess I'm just a sucker for analogue sounds.  (1989, International
Musician)

Ron "Glad to be back" Hill


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