Say hello to russ terrana

[ralpht]

Yep...I finally snagged him. Not easy to tie Russ down, but he has agreed to join us for a while, so take advantage of the opportunity to talk to a guy that has done it all....my bro. Welcome, Russ. Good to have you. About that C note you owe me.........

[westgrandboulevard]

Hello Russ. Yes, it is indeed good to have you here.

First, better sort out with brother Ralph what is, I'm sure, just a huge misunderstanding over an owed C note [[LOLOL)....then, there is a new thread addressed to Ralph, but which would also very much benefit from any information you could offer....

[Mary G Jive Five]

Hello Russ & welcome!!

Great to have you on board. If we wanted to be naughty, we could ask you to tell us things about Ralph we don't know - funny stories and the like. I would never do that.

Hope you enjoy your time here.

~~Mary~~

[marv2]

Hello Russ! I just want to know what was the most difficult project you've worked on and why?

Marv

[Russ Terrana]

Hello Russ! I just want to know what was the most difficult project you've worked on and why?

Marv

Hi Marv ... it's good to be here.

[Russ Terrana]

Hi Marv ... it's good to be here.

To be honest Marv, I can't remember what was the most difficult project I've worked on. All of them had difficult moments but for the most part, all of them were fun and interesting, besides being a creative challenge.
As soon as i finished one project it was on to the next with a whole new adventure.

[Russ Terrana]

I have a very long list of things I could tell you about Ralph ... and because there is so much , it would take years to even scratch the surface.

[ralpht]

Don't get me started, bro............

[ralpht]

Mary,
Maybe not naughty, but in case you haven't seen this video, some of the dumb stuff Russ and I did when much younger.

http://youtu.be/eANFjXnBiHY?list=UUF...ltwj_2Qw2rjbWQ

[Mary G Jive Five]

hahahahahahahahahahahaha Hanging on the bumpers of cars in the winter time??? Lucky you never got hurt.

I have a couple of questions for Russ. I'm not a techie, so they are of general curiosity to me.

1. Who was the most talented male singer your worked with at Motown, and who was the most talented female vocalist you worked with, and why??

2. What is your favorite Motown recording of all time and why?

~~Mary~~

[edafan]

Welcome aboard Russ T.

Was Tammi Terrell as nice as she appears in the pictures?

edafan

[Russ Terrana]

hahahahahahahahahahahaha Hanging on the bumpers of cars in the winter time??? Lucky you never got hurt.

I have a couple of questions for Russ. I'm not a techie, so they are of general curiosity to me.

1. Who was the most talented male singer your worked with at Motown, and who was the most talented female vocalist you worked with, and why??

2. What is your favorite Motown recording of all time and why?

~~Mary~~

It's really hard to to say who was the best male and female singer. They all had qualities different from each other. Plus the song had a huge influence on the artist as well. I liked working with them all because each one had something unique to offer.

[marv2]

To be honest Marv, I can't remember what was the most difficult project I've worked on. All of them had difficult moments but for the most part, all of them were fun and interesting, besides being a creative challenge.
As soon as i finished one project it was on to the next with a whole new adventure.

Ok Russ, how about: Were there ever a project that you completed and looked back and thought about doing anything a bit differently on it? You know have a "Ah Ha" moment after the fact?

[Russ Terrana]

Welcome aboard Russ T.

Was Tammi Terrell as nice as she appears in the pictures?

edafan

I didn't know Tammi that well, but she was very polite and easy to talk to. I wasn't there that long before she died, so I never got to know her bett which is a shame because she had her own brand of talent.

[smooth]

Good Evening Russ...

Great to have you on the Forum!
I still owe you Lunch... My TREAT!... So let's do it when your schedule permits.
Great New Italian Restaurant on the border of Montery and Pacific Grove.

You've got my number so give me a call!

Abraham Smooth Wilson

[soulster]

I have a very long list of things I could tell you about Ralph ... and because there is so much , it would take years to even scratch the surface.

Hi Russ! I've long enjoyed and respected your work. I don't care about Ralph's sinister activities, though. I would like to read about your experiences in the studio, and the technical stuff.

Ok Russ, how about...

Were there ever a project that you completed and looked back and thought about doing anything a bit differently on it? You know have a "Ah Ha" moment after the fact?

This is the kind of stuff I like to read about.

[Roberta75]

Hello Mr Russ Terrano and welcome to this here forum. Mr Terrano have you ever worked with the First Lady of Motown records Dr Martha Reeves and if so how much do she get involved in the sound and editting and mixing part of the production?

Yours, with every good wish.

Roberta

[Russ Terrana]

Hello Mr Russ Terrano and welcome to this here forum. Mr Terrano have you ever worked with the First Lady of Motown records Dr Martha Reeves and if so how much do she get involved in the sound and editting and mixing part of the production?

Yours, with every good wish.

Roberta

Hi Roberta ... I always liked working with Martha, she was a down to earth kind of a person. I think the first song I did with Martha was Jimmy Mack. Every time I hear it on the radio, it brings me back when I was working with her.

[thomas96]

Hello Russ, great to have you here! What can you tell me about Bobby Taylor and what it was like working with him? And what about little Mikey Jackson?

[Roberta75]

Hi Roberta ... I always liked working with Martha, she was a down to earth kind of a person. I think the first song I did with Martha was Jimmy Mack. Every time I hear it on the radio, it brings me back when I was working with her.

Thank you Mr Terrano, that makes me feel real good. Miss Reeves is the absolute best imo. A real callsy lady with the best voice ever to come out of Motown records imo.

Yours, with every good wish,

Roberta

[Russ Terrana]

Hello Russ, great to have you here! What can you tell me about Bobby Taylor and what it was like working with him? And what about little Mikey Jackson?

Hi again ... i knew Bobby Taylor but didn't work much with him. The only thing I can recall is he was a very nice guy and had a sharp sense of humor. As for Mikey Jackson, as a young kid, he was always very polite and extremely curious of how the recording process and equipment worked. He use to sit with me and ask all kinds of questions about recording. It was not easy being Michael Jackson. There was always someone wanting something from him. Wealth and fame can be a very heavy burden.

[mickeymac]

Ok I know this from the videos you and Ralph used to do, but its about the Four Tops Still WatersLP. I cant tell people enough about what an amazing album this is. One of the best to come from Hitsville, and you have stated that this was one of your favorite projects you worked on, and I can hear why. Any special memories about working on that amazing album you recall??

[Ryon6]

Hello Russ and welcome!

[Russ Terrana]

Ok I know this from the videos you and Ralph used to do, but its about the Four Tops Still WatersLP. I cant tell people enough about what an amazing album this is. One of the best to come from Hitsville, and you have stated that this was one of your favorite projects you worked on, and I can hear why. Any special memories about working on that amazing album you recall??

That project was one of my all time favorites because of the production that Frank Wilson put together. Every song was a master piece of work. The guys preformed like the pros they were and working with Frank was always a huge joy. While mixing this album, Franks and my brain were working in tandem. Our thoughts and ideas just gushed out of us and every time we would start on the next song, it was like an never ending adventure.

[Russ Terrana]

Hi Ryon6 ... glad to be here.

[smark21]

What are the ingredients for a successful collaboration between producer, engineer and artist?

[Russ Terrana]

What are the ingredients for a successful collaboration between producer, engineer and artist?

Thats easy .... you have to like each other.

[theboyfromxtown]

Russ

How did it work out with you being at Motown whilst Invictus were recording at Ralph's Tera Shirma studio. Can you name any Invictus tracks that you were involved with.

[ralpht]

John, Russ was at Tera Shirma at the time HDH were recording. At least in the early days before they got their own studio.

[theboyfromxtown]

But wasn't Russ also dealing with panic phone calls from BG about mixing the Jackson 5 releases.

[theboyfromxtown]

Plus there were those great tracks from Stoney & Meatloaf.

This youtube doesn't give a good representation of the sound you would hear on the radio

[Russ Terrana]

I mixed the Jacksons first album after I returned to Motown. I think it was sometime in 1969.

[Soul Sister]

I just saw this vid! HA HA HAAAAAAAAAAAAAA!!! Silly boys with their toys!!!

Hey Russ, I didn't know you went anywhere, I thought you were still here all along.
Well in any case, WELCOME HOME!!!!

Best Always,
S.S.
***

[daddyacey]

Russ , Could you tell us about how you assembled the historic Hot Buttered Soul album from all of the sub parts?

[ralpht]

I'm not sure I understand your question daddyacey. Sub parts?

[soulster]

Not to speak for him, but I think he's asking how Russ mixed the album. And, BTW, I wasn't aware that Russ had anything to do with that album.

[ralpht]

Probably a question that can't be accurately answered. Either one knows how to mix or simply doesn't.

[marv2]

Russ, you worked on the 1976 album "High Energy" by the Supremes. I know that Cindy Birdsong recorded most if not all of the material on that album. When it came time to add Susaye Greene's voice did they have to re-record some tracks or was she just overdubbed?

[daddyacey]

I'm not sure I understand your question daddyacey. Sub parts?

Well I understand [[from reading bits and pieces written in articles over the years) that the basic tracks and strings etc were recorded at separate sessions in Detroit and Memphis. I just think that how all of that was put together ,in pre-digital 1968-69 has to be a heck of a story. A 44 year old album that is still awesome today.

[ralpht]

It all ends up on one reel, daddyacey.

[Russ Terrana]

Russ , Could you tell us about how you assembled the historic Hot Buttered Soul album from all of the sub parts?

I think what you want to know is how did all the recordings end up on one reel of tape. They shipped the tape to the studios that were involved with the project. My good friend Ed Wolfrum was involved at United Sound with lots of the over dubs, such as the strings. He would put the tapes in a taxi and have it delivered to Tera Shirma so I could do the mixing. Those were the really good old days!

[soulster]

Daddyacy,

All the parts are recorded on one reel of tape, as Ralph says. This isn't necessarily how all recordings are done, of course, but to give you a basic idea [[and this goes for digital tracking too, except with a hard drive). For example, you have a virgin 2-inch tape. The first studio records basic tracks on it. Say, the bass is on the first track, and the drums are on tracks two and three, or more. You may want to record them in stereo, so you might use more. You put the other various instruments on other tracks. They might all be recorded as the band plays as an ensemble, or the various instruments/vocals may be recorded separately in a technique called overdubbing.

Everything is logged. The engineer knows what is on each track, and places a long strand of tape under the faders and labels each one.

A few days later, the vocals and backgrounds are recorded at another studio on that same tape on their machine and console on yet more tracks.

A few weeks later, the tape may be sent to another studio for "sweetening", which usually means adding strings or other instruments. Of course, all of this recording can be done at the same studio, too.

At any point, someone can get the tape, thread it up at another studio, and either add something, or redo something, sometimes by a process known as "punching in". Say, you sing the line "I don't know how many stars there are.". You, or the producer, don't like the way the line, or one word sounds. Well, what you can do is go back in a studio. The engineer sets up the same tape with the same mic and EQ, and whatever other original settings. He or she cues up the tape to just before that line, and you re-sing that part. That engineer then records your new line on either another available track, or erases the old one during that point as your new line is sung. These days, depending on the nature of the problem, it could be fixed with a bit of digital trickery. But, i'm getting too far away from a basic explanation here. Sorry.

When it is all recorded, the engineer edits and mixes everything, or another engineer who has a special talent for mixing, mixes the song into stereo on yet another tape. In this case, the tape is usually a quarter-inch tape running at either 30 i.p.s. or 15 i.p.s., depending what the producer wants. Some mix engineers work alone, some with the producer, and sometimes, the artist is present. But, having the artist there is often ill-advised. Everyone wants their part louder, or has different ideas, and it can result in anarchy! Mixing is critical, where every detail is important. In the days before digital automation, before, say, 1978, sometimes you could have two or more people sweating bricks over the console making various fader moves during mixdown, depending on if the mix was really complicated. The tape was run and the moves were practiced. After everyone got their parts down, they would run the tape again and do an actual mix. Today, with automation, the mixer can program all the moves first, then just play the multitrack as the console literally moves the faders as programmed. This is how it's done in a computer, too, usually with Pro-Tools. If you have the right software, you can do the same thing at home.

The tracks are edited and assembled [[if on an album), and notes are made about what needs to be done in mastering.

The master stereo 1/4" [[in some rare cases, a 1/2" or 1" tape is used) tape is sent to a specialized studio where they have special, dedicated speakers, room, and gear. The mastering engineers are like dogs. They hear everything in a mix, every intricate detail. They weren't born with bat ears, they taught themselves how to listen.

In the old days, all the mastering engineer had to do was adjust a couple of things like EQ or volume, and cut the lacquer. Today, the mastering engineer is asked to do that, plus fades, intricate level tweaking, all those things written down on the tape box by the mix engineer, and all sorts of other things, including mixing with stems, and has to deal with a lot of various formats from tape to digital files on hard drives and DVD-R. They have to prepare the master for CD, vinyl, iTunes, and hi-rez formats like SACD or HD Tracks, as a process called authoring, and ship the results to the replication plant after final approval. The reason I mentioned mastering is because it is what they do that determines what you, the end-listener, hears. That final mix can sound many ways, depending on what is done at mastering. This is why i've said in the past that it isn't all about the performance.

There are many things that are done to prepare the machines before the session like degaussing, cleaning, head azimuth, mic placement, cabling, bias and EQ adjustments by tones on the tape or by ear, or both, and even winding the tape so that it gets wound and stored tails out.

Again, today, most everything is recorded digitally. Engineers who have the capability, can sent two feeds of a final mix to a digital recorder and an analog recorder to see which will sound better. A mastering engineer could run a digital mix through a tape emulator or on an actual tape, then loop it back to get that analog sound with the gentle tape saturation. Instead of tape, the hard drive gets sent around, or the tracks are sent by FTP. Whatever works.

Today, many albums are recorded at a home studio where the artist can take all the time they want. Live at home with the wife and kids, play with the dog, take naps, and never have to worry about the clock. Many artists learn how to do all the engineering themselves, even if they do bring in an experienced engineer. Hell, many records are made on a laptops in a hotel room. That's how Will-i-am did the last Black Eyed Peas album. But, the mastering is still done at a mastering suite.

My apologies to Russ. I get carried away with this stuff.

[ralpht]

No apologies needed soulster. Nice post.

[westgrandboulevard]

I think so, too. Thanks to you both, Soulster & Ralph.

There is a great deal of knowledge still available in the memories of good people such as yourselves on this forum, and elsewhere.

It just seems essential to have as much of it as possible set down to be read by the rest of us, and by those who have yet to discover an interest.

While much of it I may know already by previously reading the information, to be reminded of it is also to have other memories triggered. After half a century, it is still fun and absorbing. No point in giving time and attention, if it is not.

I'm certain that fans like myself who simply bought the records, and weren't directly involved, are more than happy to be presented with any amount of background and technical information. Whether it is all of interest, or just in part, is then for each individual to decide.

More, please!

[smooth]

Soulster...

My hats off to you for one of the best informative lessons in the art of recording!
You broke the topic down into easier to understand language.

We need more of this quality of interaction and intellect on the Forum.

Thank you for being a good educator.

Abraham Smooth Wilson

[soulster]

Soulster...

My hats off to you for one of the best informative lessons in the art of recording!
You broke the topic down into easier to understand language.

We need more of this quality of interaction and intellect on the Forum.

Thank you for being a good educator.

Abraham Smooth Wilson

i'm not a pro. I have just spent most of my life learning about how it all works because I was always curious about the process. I'm one of those people who like to know how things work. When I bought a record, I didn't just sit down and listen to it, I also enjoyed studying how it may have been done, and how the stereo system reproduced that sound. Unfortunately, I missed the plane on being part of the recording industry.

[RTA6226]

Hi Russ: Welcome. How long will you be with us? Your brother runs a great board here.

[smooth]

Hi Soulster

Professionals come in all forms and you are still to be complimented for good recording information.

I for one appreciate the education!

Abraham Smooth Wilson

[smooth]

Good Morning Russ...

When you have a moment share with us what it was like to work with Whitney Houston.
What an amazing voice!

Abraham Smooth Wilson

[Russ Terrana]

Daddyacy,

All the parts are recorded on one reel of tape, as Ralph says. This isn't necessarily how all recordings are done, of course, but to give you a basic idea [[and this goes for digital tracking too, except with a hard drive). For example, you have a virgin 2-inch tape. The first studio records basic tracks on it. Say, the bass is on the first track, and the drums are on tracks two and three, or more. You may want to record them in stereo, so you might use more. You put the other various instruments on other tracks. They might all be recorded as the band plays as an ensemble, or the various instruments/vocals may be recorded separately in a technique called overdubbing.

Everything is logged. The engineer knows what is on each track, and places a long strand of tape under the faders and labels each one.

A few days later, the vocals and backgrounds are recorded at another studio on that same tape on their machine and console on yet more tracks.

A few weeks later, the tape may be sent to another studio for "sweetening", which usually means adding strings or other instruments. Of course, all of this recording can be done at the same studio, too.

At any point, someone can get the tape, thread it up at another studio, and either add something, or redo something, sometimes by a process known as "punching in". Say, you sing the line "I don't know how many stars there are.". You, or the producer, don't like the way the line, or one word sounds. Well, what you can do is go back in a studio. The engineer sets up the same tape with the same mic and EQ, and whatever other original settings. He or she cues up the tape to just before that line, and you re-sing that part. That engineer then records your new line on either another available track, or erases the old one during that point as your new line is sung. These days, depending on the nature of the problem, it could be fixed with a bit of digital trickery. But, i'm getting too far away from a basic explanation here. Sorry.

When it is all recorded, the engineer edits and mixes everything, or another engineer who has a special talent for mixing, mixes the song into stereo on yet another tape. In this case, the tape is usually a quarter-inch tape running at either 30 i.p.s. or 15 i.p.s., depending what the producer wants. Some mix engineers work alone, some with the producer, and sometimes, the artist is present. But, having the artist there is often ill-advised. Everyone wants their part louder, or has different ideas, and it can result in anarchy! Mixing is critical, where every detail is important. In the days before digital automation, before, say, 1978, sometimes you could have two or more people sweating bricks over the console making various fader moves during mixdown, depending on if the mix was really complicated. The tape was run and the moves were practiced. After everyone got their parts down, they would run the tape again and do an actual mix. Today, with automation, the mixer can program all the moves first, then just play the multitrack as the console literally moves the faders as programmed. This is how it's done in a computer, too, usually with Pro-Tools. If you have the right software, you can do the same thing at home.

The tracks are edited and assembled [[if on an album), and notes are made about what needs to be done in mastering.

The master stereo 1/4" [[in some rare cases, a 1/2" or 1" tape is used) tape is sent to a specialized studio where they have special, dedicated speakers, room, and gear. The mastering engineers are like dogs. They hear everything in a mix, every intricate detail. They weren't born with bat ears, they taught themselves how to listen.

In the old days, all the mastering engineer had to do was adjust a couple of things like EQ or volume, and cut the lacquer. Today, the mastering engineer is asked to do that, plus fades, intricate level tweaking, all those things written down on the tape box by the mix engineer, and all sorts of other things, including mixing with stems, and has to deal with a lot of various formats from tape to digital files on hard drives and DVD-R. They have to prepare the master for CD, vinyl, iTunes, and hi-rez formats like SACD or HD Tracks, as a process called authoring, and ship the results to the replication plant after final approval. The reason I mentioned mastering is because it is what they do that determines what you, the end-listener, hears. That final mix can sound many ways, depending on what is done at mastering. This is why i've said in the past that it isn't all about the performance.

There are many things that are done to prepare the machines before the session like degaussing, cleaning, head azimuth, mic placement, cabling, bias and EQ adjustments by tones on the tape or by ear, or both, and even winding the tape so that it gets wound and stored tails out.

Again, today, most everything is recorded digitally. Engineers who have the capability, can sent two feeds of a final mix to a digital recorder and an analog recorder to see which will sound better. A mastering engineer could run a digital mix through a tape emulator or on an actual tape, then loop it back to get that analog sound with the gentle tape saturation. Instead of tape, the hard drive gets sent around, or the tracks are sent by FTP. Whatever works.

Today, many albums are recorded at a home studio where the artist can take all the time they want. Live at home with the wife and kids, play with the dog, take naps, and never have to worry about the clock. Many artists learn how to do all the engineering themselves, even if they do bring in an experienced engineer. Hell, many records are made on a laptops in a hotel room. That's how Will-i-am did the last Black Eyed Peas album. But, the mastering is still done at a mastering suite.

My apologies to Russ. I get carried away with this stuff.

You go girl!!!