1 00:00:01,440 --> 00:00:10,000 Speaker 1: Canst Playground. I'm Buzznight, the host of Taking a Walk 2 00:00:10,280 --> 00:00:16,040 Speaker 1: Music History on Foot. Follow us on Apple Podcasts, Spotify, 3 00:00:16,800 --> 00:00:22,840 Speaker 1: tune in, iHeart, cast box, or wherever you get your podcast, 4 00:00:23,520 --> 00:00:26,759 Speaker 1: and when you follow us, you're guaranteed to never miss 5 00:00:26,760 --> 00:00:30,480 Speaker 1: an episode and feel free to share this with a friend. 6 00:00:30,480 --> 00:00:33,720 Speaker 1: A couple of friends pass the word about taking a walk. 7 00:00:33,800 --> 00:00:39,680 Speaker 1: We appreciated today. Our episode is music History Now. In 8 00:00:39,720 --> 00:00:42,880 Speaker 1: a previous episode, which I'd love for you to check out, 9 00:00:43,080 --> 00:00:47,400 Speaker 1: we walked through music history with Paul Kingsbury at the 10 00:00:47,440 --> 00:00:51,240 Speaker 1: Country Hall of Fame. Had a blast with that. We'll 11 00:00:51,280 --> 00:00:55,760 Speaker 1: walk through the hallowed halls today on this episode of 12 00:00:55,840 --> 00:01:01,920 Speaker 1: Taking a Walk of Nashville music History in the studios. First, 13 00:01:02,160 --> 00:01:05,160 Speaker 1: we're going to be with Aaron Bolin. He is the 14 00:01:05,200 --> 00:01:09,520 Speaker 1: director VP of Studio Operations, an A and R administration 15 00:01:09,880 --> 00:01:13,280 Speaker 1: for the Great Curb Music, which has an amazing studio 16 00:01:13,600 --> 00:01:16,600 Speaker 1: with tons of history. And then on the second part 17 00:01:16,600 --> 00:01:19,240 Speaker 1: of this, we're going to meet up with Mike Porter. 18 00:01:19,760 --> 00:01:24,280 Speaker 1: He's the facilities manager of thirty four Music Square East, 19 00:01:24,600 --> 00:01:30,360 Speaker 1: which among other cool things, includes the legendary QUANTT Hut 20 00:01:30,400 --> 00:01:34,680 Speaker 1: Studios in Nashville. First, let's meet up with Aaron on 21 00:01:34,840 --> 00:01:38,480 Speaker 1: taking a walk. Well, Aaron, it's so nice to be 22 00:01:38,760 --> 00:01:42,520 Speaker 1: taking a walk with you inside Curb Studios. Thank you 23 00:01:42,600 --> 00:01:45,360 Speaker 1: for having me, Thank you for being here, buzz. This 24 00:01:45,440 --> 00:01:49,440 Speaker 1: is an amazing place. I feel like it's one of 25 00:01:49,520 --> 00:01:52,800 Speaker 1: many studios. It's sort of the hallowed halls, if you will, right, 26 00:01:53,360 --> 00:01:55,840 Speaker 1: we are very blessed to have a lot of history here, 27 00:01:56,000 --> 00:01:58,760 Speaker 1: A lot of great music has come out of the studio. 28 00:01:59,240 --> 00:02:01,920 Speaker 1: So to take us around here, let's uh show us 29 00:02:01,960 --> 00:02:06,600 Speaker 1: the scene. Alright, Let's I guess first and foremost, I'd 30 00:02:06,600 --> 00:02:10,880 Speaker 1: love to take you into the tracking room first. This 31 00:02:13,120 --> 00:02:21,720 Speaker 1: studio was originally built in nineteen eighty two by Wayne 32 00:02:21,760 --> 00:02:27,320 Speaker 1: Hodge and Bill Barndick. It was originally called star Gym Studios, 33 00:02:27,680 --> 00:02:31,920 Speaker 1: and basically it was an independent studio and record label 34 00:02:32,400 --> 00:02:35,680 Speaker 1: here in town. Wayne Hodge, I believe, used to actually 35 00:02:35,680 --> 00:02:39,440 Speaker 1: do the indie music road charts back in the day, 36 00:02:40,120 --> 00:02:41,480 Speaker 1: but they ran it out of here and it was 37 00:02:41,520 --> 00:02:46,920 Speaker 1: called star Gym Records. And ironically, Curve being an independent 38 00:02:47,720 --> 00:02:50,840 Speaker 1: uh studio and also an independent record label, it's kind 39 00:02:50,880 --> 00:02:55,000 Speaker 1: of ironic that we are now carrying on that tradition. Uh, 40 00:02:55,200 --> 00:02:58,320 Speaker 1: we're a little bit larger record label. Than Star Gym 41 00:02:58,520 --> 00:03:03,160 Speaker 1: was back in the day, but Bill and Wayne ran 42 00:03:03,240 --> 00:03:07,560 Speaker 1: that for quite a while, and then when that folded, 43 00:03:08,080 --> 00:03:12,679 Speaker 1: this became a commercial studio called Sessions Music, which you 44 00:03:12,760 --> 00:03:16,120 Speaker 1: may have heard of. And during that time a lot 45 00:03:16,160 --> 00:03:19,560 Speaker 1: of people cut here. Johnny Paycheck, Johnny Cash cut boom 46 00:03:19,600 --> 00:03:23,600 Speaker 1: chicker boom right there, and that I saw booth, that 47 00:03:23,680 --> 00:03:28,440 Speaker 1: vocal boost, Oh my god. Randy Travis cut forever and 48 00:03:28,560 --> 00:03:32,440 Speaker 1: ever amen here. Since I've been here, over the past 49 00:03:32,440 --> 00:03:36,840 Speaker 1: twenty five years, we've had Dolly Parton, We've had George Jones, 50 00:03:36,880 --> 00:03:43,320 Speaker 1: We've had Hank Williams Junior, the Juds, Wyona, Tim McGraw's 51 00:03:43,360 --> 00:03:50,720 Speaker 1: been here, LeAnn Rimes, Rodney Atkins, Lee Brice. Actually, I 52 00:03:50,720 --> 00:03:55,200 Speaker 1: don't know if you guys remember a band called Air Supply. Sure, 53 00:03:55,680 --> 00:03:58,920 Speaker 1: but one half of Air Supply, Russell Hitchcock, cut a 54 00:03:58,960 --> 00:04:05,600 Speaker 1: double album here called Nashville. And Don McLean actually cut 55 00:04:05,640 --> 00:04:08,680 Speaker 1: here years ago at not by by Miss American Pie, 56 00:04:08,800 --> 00:04:12,680 Speaker 1: but he did cut here as well. So this studio 57 00:04:12,960 --> 00:04:15,680 Speaker 1: is rich in history and we are very blessed. One 58 00:04:15,720 --> 00:04:19,880 Speaker 1: of my favorites, though, is Dolly Parton. When she was here, 59 00:04:20,320 --> 00:04:22,800 Speaker 1: my office used to be right outside the tracking room, door, 60 00:04:23,839 --> 00:04:27,080 Speaker 1: and you know, when clients are here, especially artists of 61 00:04:27,120 --> 00:04:29,120 Speaker 1: her caliber, you just keep your head down and do 62 00:04:29,160 --> 00:04:32,800 Speaker 1: your work and let her do hers. But this is 63 00:04:32,920 --> 00:04:34,760 Speaker 1: a story. I hope she doesn't get mad at me 64 00:04:34,800 --> 00:04:37,159 Speaker 1: for telling. But I was in there working and she 65 00:04:37,240 --> 00:04:39,880 Speaker 1: was about to walk into the control room door, and 66 00:04:39,920 --> 00:04:41,279 Speaker 1: she looked over at me and she said, well, how 67 00:04:41,320 --> 00:04:43,240 Speaker 1: are you doing? And I said wonderful, how are you doing? 68 00:04:43,279 --> 00:04:46,120 Speaker 1: And we started talking. She started asking me questions, and 69 00:04:46,160 --> 00:04:48,279 Speaker 1: then right before she went in, she said, well, are 70 00:04:48,320 --> 00:04:50,480 Speaker 1: you going to give me a hug or not? And 71 00:04:50,520 --> 00:04:53,520 Speaker 1: of course, me being a Southern gentleman, I said yes, ma'am, 72 00:04:53,880 --> 00:04:57,919 Speaker 1: I certainly am. So I got to hug Dolly Parton 73 00:04:58,200 --> 00:05:02,720 Speaker 1: and that was definitely one of my bucket list. So 74 00:05:02,920 --> 00:05:05,359 Speaker 1: that was a wonderful day. My wife still loves to 75 00:05:05,360 --> 00:05:08,240 Speaker 1: hear that story. I mean, is she a treasure that 76 00:05:08,560 --> 00:05:12,480 Speaker 1: continues to be even a greater treasure? You said it, Buzz. 77 00:05:12,520 --> 00:05:16,640 Speaker 1: It's just amazing. It's amazing all that she's dying, not 78 00:05:16,720 --> 00:05:20,520 Speaker 1: only for music, but for Tennessee and for Nashville and 79 00:05:20,560 --> 00:05:23,960 Speaker 1: for the community in and of itself. But it was 80 00:05:24,120 --> 00:05:27,240 Speaker 1: really neat to watch her perform that day. She would 81 00:05:27,279 --> 00:05:29,880 Speaker 1: come in. She is a true artist. She would come in. 82 00:05:30,400 --> 00:05:33,320 Speaker 1: She sang the song down through once and sounded incredibly, 83 00:05:33,360 --> 00:05:35,599 Speaker 1: so how could it be any better? And then she 84 00:05:35,600 --> 00:05:37,719 Speaker 1: would say, I'm going to make it a little sadder 85 00:05:37,760 --> 00:05:40,760 Speaker 1: this time, and it would be a completely different performance 86 00:05:40,760 --> 00:05:43,920 Speaker 1: that would bring tears to your eyes. And then she 87 00:05:43,920 --> 00:05:45,640 Speaker 1: would say, yeah, maybe that was a little too much 88 00:05:45,680 --> 00:05:48,360 Speaker 1: and bring it back. So she is a true artist. 89 00:05:48,920 --> 00:05:51,080 Speaker 1: She could deliver the song. She knew what the song needed, 90 00:05:51,360 --> 00:05:53,920 Speaker 1: work through it, and lull us all the way that day. 91 00:05:54,600 --> 00:05:58,720 Speaker 1: I mean, since when you walk into the studio, is 92 00:06:00,120 --> 00:06:02,680 Speaker 1: really is this sense of calm when you walk in, 93 00:06:03,279 --> 00:06:08,320 Speaker 1: which I'm sure is intentional. Yes, it's great that you 94 00:06:08,360 --> 00:06:10,880 Speaker 1: pick up on that. And that was one thing when 95 00:06:10,920 --> 00:06:13,479 Speaker 1: Mike Curb when we told him, hey, we want to 96 00:06:14,320 --> 00:06:17,880 Speaker 1: redo the studio because we took it right before COVID hit, 97 00:06:17,960 --> 00:06:20,320 Speaker 1: and during the time of COVID we took it down 98 00:06:20,360 --> 00:06:22,480 Speaker 1: to the studs and redid a lot of it. But 99 00:06:22,520 --> 00:06:24,880 Speaker 1: the one thing he said was in the tracking room, 100 00:06:25,320 --> 00:06:27,520 Speaker 1: can we keep the wood? Can we keep the feel? 101 00:06:27,640 --> 00:06:30,880 Speaker 1: Because there's so much history in this wood well, and 102 00:06:30,920 --> 00:06:33,880 Speaker 1: the vibe is consistent because when I look over here, 103 00:06:34,400 --> 00:06:38,320 Speaker 1: I see a Jack Daniel's whiskey bottle, well or is 104 00:06:38,320 --> 00:06:42,839 Speaker 1: it filled with something? It's filled as a shaker, which 105 00:06:42,960 --> 00:06:45,880 Speaker 1: is you know, obviously it's a musical instrument, but somebody 106 00:06:45,920 --> 00:06:51,440 Speaker 1: had to empty that to get it to make it useful. God. Well, 107 00:06:51,440 --> 00:06:54,200 Speaker 1: I'm gonna after the tour come back in. I'll take 108 00:06:54,240 --> 00:06:56,720 Speaker 1: some pictures that will go on the ticket a walk 109 00:06:56,760 --> 00:07:00,119 Speaker 1: podcast Instagram site so people can get a sense of this. 110 00:07:00,240 --> 00:07:04,480 Speaker 1: But what a beautiful room here, This isles we are, 111 00:07:04,560 --> 00:07:07,440 Speaker 1: we are very blessed well and can we just for 112 00:07:07,480 --> 00:07:10,920 Speaker 1: the sake of the Johnny Cash piece, is this where 113 00:07:11,120 --> 00:07:14,200 Speaker 1: you said? This is where boom Chicka boom He sang 114 00:07:14,320 --> 00:07:16,960 Speaker 1: vocals for the song Boom checker boom, and you can 115 00:07:17,040 --> 00:07:19,239 Speaker 1: write in here, writ in here, come on he hopefully 116 00:07:19,320 --> 00:07:23,080 Speaker 1: mac feel can you feel it almost the vibe and 117 00:07:23,320 --> 00:07:25,960 Speaker 1: you can actually feel the presence of the room how 118 00:07:25,960 --> 00:07:29,880 Speaker 1: it's been treated as well on your ears? Wow? But yes, 119 00:07:29,920 --> 00:07:33,640 Speaker 1: this is where love of magic was captured. And like 120 00:07:33,680 --> 00:07:36,720 Speaker 1: I say, it's I can still feel the history here 121 00:07:36,760 --> 00:07:40,200 Speaker 1: and hopefully we keep capturing that. That's amazing. Oh my god, 122 00:07:40,360 --> 00:07:43,920 Speaker 1: what a thrill. I have to ask you as we're walking, 123 00:07:44,000 --> 00:07:48,800 Speaker 1: so you know we're here at Kurb Studios. Tell me 124 00:07:49,760 --> 00:07:54,400 Speaker 1: what an experience is like working with the great Mike Kurb. Well, 125 00:07:54,440 --> 00:07:58,280 Speaker 1: that is one thing that I am very proud to 126 00:08:00,520 --> 00:08:02,960 Speaker 1: It's great to have a job that you enjoy and 127 00:08:03,000 --> 00:08:06,040 Speaker 1: that can help you pay your bills and hopefully put 128 00:08:06,040 --> 00:08:09,720 Speaker 1: your kids through college. But it's even more fun when 129 00:08:09,800 --> 00:08:14,880 Speaker 1: you can work for a gentleman who appreciates the history 130 00:08:15,280 --> 00:08:18,640 Speaker 1: of all these wonderful buildings and the music that came 131 00:08:18,720 --> 00:08:21,840 Speaker 1: out of these facilities and is willing to save it 132 00:08:21,920 --> 00:08:29,239 Speaker 1: because change is inevitable and we know that real estate 133 00:08:29,280 --> 00:08:33,480 Speaker 1: here is going for a premium right now, and I'm 134 00:08:33,520 --> 00:08:37,840 Speaker 1: thankful that he sees fit to preserve these not only 135 00:08:37,880 --> 00:08:42,000 Speaker 1: for the history that was created here, but also for 136 00:08:42,280 --> 00:08:45,840 Speaker 1: my generation and future generations to come here to feel it, 137 00:08:45,880 --> 00:08:47,640 Speaker 1: to be a part of it, and to create new 138 00:08:47,720 --> 00:08:52,240 Speaker 1: music and new history here. Yeah, he truly embraces this, 139 00:08:52,360 --> 00:08:58,120 Speaker 1: and that's part of his legacy, right absolutely. Absolutely. He also, 140 00:08:58,600 --> 00:09:02,200 Speaker 1: you know, obviously gives to about thirteen different colleges, thirteen 141 00:09:02,240 --> 00:09:06,360 Speaker 1: or fourteen different colleges all over the country. But the 142 00:09:06,440 --> 00:09:12,120 Speaker 1: fact that he appreciates music, row you know, he's from California, 143 00:09:14,000 --> 00:09:17,120 Speaker 1: he was out there Lieutenant Governor for many years. But 144 00:09:17,200 --> 00:09:19,959 Speaker 1: when he moved the Curb Records Operations, which was right 145 00:09:19,960 --> 00:09:24,720 Speaker 1: across the street at forty seven Music Square East, this facility, 146 00:09:25,840 --> 00:09:31,360 Speaker 1: after Sessions closed, became available. That was around nineteen ninety five, 147 00:09:31,440 --> 00:09:34,280 Speaker 1: and that's when Mike Kerb bought this facility. And originally 148 00:09:34,320 --> 00:09:37,160 Speaker 1: it only had those two ISO booths, the middle ISO 149 00:09:37,200 --> 00:09:40,120 Speaker 1: booth in the left ISO booth. When Mike purchased it, 150 00:09:40,160 --> 00:09:42,640 Speaker 1: he put the right ISO booth in there. And then 151 00:09:42,679 --> 00:09:46,160 Speaker 1: a lot of the Curb artists started recording here, Lenn 152 00:09:46,240 --> 00:09:50,160 Speaker 1: Rhymes being one of them at that time. And then 153 00:09:50,200 --> 00:09:54,600 Speaker 1: over the years so many other of our artists and 154 00:09:54,800 --> 00:09:57,920 Speaker 1: just outside clients have come through. Blake Shelton has recorded here, 155 00:09:58,559 --> 00:10:03,160 Speaker 1: Joe Nichols, Camy one that has been here. I've got 156 00:10:03,280 --> 00:10:05,600 Speaker 1: an actual list. I would prbably have to look at 157 00:10:05,640 --> 00:10:08,559 Speaker 1: it just to tell you, because there's really We've been 158 00:10:08,640 --> 00:10:10,800 Speaker 1: very blessed. It's got quite a bit of a history here. 159 00:10:11,679 --> 00:10:16,520 Speaker 1: And Mike, I understand, is still fairly involved in his company. 160 00:10:16,840 --> 00:10:21,559 Speaker 1: Most definitely, Most definitely, Mike is an amazing individual. He 161 00:10:22,360 --> 00:10:26,240 Speaker 1: also does a lot with auto racing as well. We 162 00:10:26,320 --> 00:10:30,160 Speaker 1: do NASCAR and Indie racing and truck racing and all 163 00:10:30,200 --> 00:10:32,080 Speaker 1: of that, and he's done that for many years, but 164 00:10:32,960 --> 00:10:35,920 Speaker 1: still his true passion is music. It's it's great working 165 00:10:36,000 --> 00:10:38,880 Speaker 1: for a head of a label. I mean that was 166 00:10:38,920 --> 00:10:40,920 Speaker 1: part of my job for many years was to make 167 00:10:41,160 --> 00:10:44,200 Speaker 1: music at CDs at real time to send to him 168 00:10:44,240 --> 00:10:47,040 Speaker 1: over the weekend so he could just listen to music 169 00:10:47,120 --> 00:10:49,440 Speaker 1: of the artists, new music that are coming out that 170 00:10:49,480 --> 00:10:52,439 Speaker 1: would you know would be coming out, or deciding on 171 00:10:52,559 --> 00:10:54,880 Speaker 1: what the new music was that was coming out. He's 172 00:10:54,920 --> 00:11:00,400 Speaker 1: a voracious appetite for music, love it well. And as 173 00:11:00,400 --> 00:11:02,760 Speaker 1: far as history, he could definitely give you a good 174 00:11:02,800 --> 00:11:05,840 Speaker 1: history of music as well. Oh, I would think so. 175 00:11:05,840 --> 00:11:07,760 Speaker 1: So set the stage where we are right now in 176 00:11:07,760 --> 00:11:10,120 Speaker 1: this room. All right, we are in the control room 177 00:11:10,520 --> 00:11:14,280 Speaker 1: and we have just redone the control room. If you 178 00:11:14,320 --> 00:11:17,679 Speaker 1: look at the studio out there, the control room and 179 00:11:17,720 --> 00:11:21,280 Speaker 1: the Trekking room, there is a wall that's about four 180 00:11:21,360 --> 00:11:25,520 Speaker 1: feet outside of the interior wall and those blocks are 181 00:11:25,559 --> 00:11:28,800 Speaker 1: filled with sand and there's an air space in between 182 00:11:28,880 --> 00:11:32,280 Speaker 1: there to isolate us. Being that we are in Nashville 183 00:11:32,679 --> 00:11:35,280 Speaker 1: and there is so much construction going on, you need 184 00:11:35,320 --> 00:11:40,160 Speaker 1: that isolation, that separation. This board is an API board. 185 00:11:41,360 --> 00:11:44,280 Speaker 1: It's the Legacy series board. It's a new board that 186 00:11:44,360 --> 00:11:48,520 Speaker 1: we put in. And then the speakers here are Axburger speakers. 187 00:11:49,160 --> 00:11:53,520 Speaker 1: The other thing that helps with this studio is we 188 00:11:53,600 --> 00:11:56,760 Speaker 1: have some amazing outboard gear that's you know, from the 189 00:11:56,760 --> 00:12:00,080 Speaker 1: forties and fifties, some vintage stuff, good tube stuff. We 190 00:12:00,120 --> 00:12:05,360 Speaker 1: have some wonderful microphones and we even have you know, 191 00:12:05,480 --> 00:12:08,960 Speaker 1: old twenty four track machine here, the stud machine, And 192 00:12:09,080 --> 00:12:12,280 Speaker 1: believe it or not, this still gets used on occasion. 193 00:12:12,760 --> 00:12:15,679 Speaker 1: As a matter of fact, I think White Stripes their 194 00:12:15,720 --> 00:12:18,040 Speaker 1: album Icky Thump, I think some of that was actually 195 00:12:18,040 --> 00:12:22,240 Speaker 1: recorded behind us at Starstruck Studios, and they borrowed our 196 00:12:22,280 --> 00:12:26,080 Speaker 1: sixteen track headstack to run the drums through for that 197 00:12:26,160 --> 00:12:30,160 Speaker 1: analog sound. Sure, and then still they were using pro 198 00:12:30,240 --> 00:12:33,600 Speaker 1: tools as their tape machine. But we're capturing the drums 199 00:12:33,640 --> 00:12:37,600 Speaker 1: through that analog warmth Oh well, so yeah, we have that, 200 00:12:37,679 --> 00:12:41,040 Speaker 1: and then the two track tape machine here as well. 201 00:12:41,160 --> 00:12:45,160 Speaker 1: That's fascinating. What to take a walk further, I would 202 00:12:45,200 --> 00:12:52,480 Speaker 1: love that back here when Mike actually first purchased all 203 00:12:52,520 --> 00:12:55,840 Speaker 1: of this, this would be the headquarters of Star Gym. 204 00:12:55,960 --> 00:12:58,920 Speaker 1: As a matter of fact, you could drive down Music 205 00:12:59,040 --> 00:13:01,720 Speaker 1: Row and there is a star right here in the 206 00:13:01,720 --> 00:13:06,120 Speaker 1: front door that everybody saw whenever they would drive by, 207 00:13:06,240 --> 00:13:09,560 Speaker 1: so it always reminded everybody of Star Gum Studios. And 208 00:13:09,600 --> 00:13:11,640 Speaker 1: then that was still here when I first started a 209 00:13:11,760 --> 00:13:15,880 Speaker 1: curb twenty five years ago. But since we've done a 210 00:13:15,920 --> 00:13:20,439 Speaker 1: referb on it, we've taken these offices and turned them 211 00:13:20,440 --> 00:13:24,200 Speaker 1: into useful rooms. The cool thing about it is this room. 212 00:13:24,400 --> 00:13:26,640 Speaker 1: This is what we call our Studio B and Studio 213 00:13:26,760 --> 00:13:29,640 Speaker 1: C are actually tied into Studio A. So when we 214 00:13:29,679 --> 00:13:33,920 Speaker 1: have a large session, we can put a fiddle player 215 00:13:33,960 --> 00:13:37,160 Speaker 1: back here, a still player back in the other and 216 00:13:37,360 --> 00:13:41,400 Speaker 1: capture their sound in these rooms and still track it 217 00:13:42,120 --> 00:13:46,800 Speaker 1: in the control room. One funny story, if you can 218 00:13:46,840 --> 00:13:50,760 Speaker 1: look out the window there, there's a place where we 219 00:13:50,800 --> 00:13:55,400 Speaker 1: put there's guitars out there obviously, but you know, for 220 00:13:55,559 --> 00:13:58,800 Speaker 1: the tourists to come by. But there's also basically a 221 00:13:58,840 --> 00:14:02,360 Speaker 1: little wall there. That wall that put up because too 222 00:14:02,400 --> 00:14:05,760 Speaker 1: many times people would be coming down through here. Somebody 223 00:14:05,760 --> 00:14:09,720 Speaker 1: would pull out from that from South Street and they 224 00:14:09,840 --> 00:14:13,880 Speaker 1: ran into this front of the building wondering why that 225 00:14:14,040 --> 00:14:17,800 Speaker 1: was there. Yeah, so the facade and was put up 226 00:14:17,840 --> 00:14:20,760 Speaker 1: for protection more than anything. My god, you gotta love 227 00:14:20,840 --> 00:14:23,240 Speaker 1: Nashville drivers, and I'm one of them, so I can 228 00:14:23,320 --> 00:14:27,560 Speaker 1: I can get away with saying that. But yeah, this 229 00:14:27,600 --> 00:14:30,320 Speaker 1: is our b room. It would also be great if 230 00:14:30,320 --> 00:14:33,520 Speaker 1: you and I were together and we wrote a song Buzz. 231 00:14:33,560 --> 00:14:35,320 Speaker 1: We could come in here, we could put a guitar 232 00:14:35,440 --> 00:14:38,160 Speaker 1: vocal down and then we could take it to an 233 00:14:38,240 --> 00:14:40,480 Speaker 1: artist and hope that they would cut it and make 234 00:14:40,560 --> 00:14:44,120 Speaker 1: us songwriters. Wow, this is see, this could be the future. 235 00:14:44,320 --> 00:14:47,920 Speaker 1: This is it. Yeah, this is what goodness I've been. 236 00:14:48,120 --> 00:14:50,640 Speaker 1: I know I've been struggling as an artist all these years, 237 00:14:50,680 --> 00:14:54,280 Speaker 1: but Aaron, I think you've helped me find my direction. 238 00:14:54,880 --> 00:14:56,760 Speaker 1: I think I think that's all we have to do. 239 00:14:56,880 --> 00:15:01,320 Speaker 1: Is I wish, don't I wish tap your inner creative 240 00:15:01,440 --> 00:15:05,080 Speaker 1: child and we capture that buzz please. I would love that. 241 00:15:05,520 --> 00:15:08,720 Speaker 1: Or maybe someday maybe next trip there you go. You know, 242 00:15:08,760 --> 00:15:14,880 Speaker 1: I look forward to it. So, Aeron, where are we 243 00:15:14,920 --> 00:15:17,120 Speaker 1: walking to right now? Well, I was just wanting to 244 00:15:17,200 --> 00:15:19,040 Speaker 1: kind of go around the block here and just point 245 00:15:19,040 --> 00:15:21,840 Speaker 1: out a couple of wonderful places. This that I hear 246 00:15:22,000 --> 00:15:27,920 Speaker 1: behind directly behind Kurb Studio is Starstruck, which was originally 247 00:15:28,160 --> 00:15:31,440 Speaker 1: built by Riba McIntyre years ago and it's still a 248 00:15:31,480 --> 00:15:33,960 Speaker 1: functioning studio. They have quite a few rooms in They 249 00:15:34,000 --> 00:15:37,680 Speaker 1: are not only audio studios, but video capture as well, 250 00:15:38,400 --> 00:15:40,840 Speaker 1: and it's a phenomenal facility. They have an ATMOS room 251 00:15:40,840 --> 00:15:44,680 Speaker 1: in there. Caddy corner from that is RFD TV, which 252 00:15:44,680 --> 00:15:48,200 Speaker 1: is right here in that building. And then down there 253 00:15:48,200 --> 00:15:52,680 Speaker 1: to your right, it's RCA Studio A, which you speak 254 00:15:53,160 --> 00:15:56,840 Speaker 1: have Alina Studios but has been just had a great 255 00:15:56,920 --> 00:16:00,840 Speaker 1: history of wonderful recordings that come out of there. And 256 00:16:00,840 --> 00:16:03,240 Speaker 1: then RCAA Studio B is directly beside it, which is 257 00:16:03,320 --> 00:16:06,320 Speaker 1: kind of interesting because RCIA Studio B was built before 258 00:16:07,440 --> 00:16:12,680 Speaker 1: it's RCA Studio A. Soay, we're here on the south alphabet. 259 00:16:12,720 --> 00:16:18,080 Speaker 1: Can be your own little playground, I guess, your own creation. 260 00:16:18,120 --> 00:16:21,120 Speaker 1: And then right here was forty seven Music Square East, 261 00:16:21,200 --> 00:16:25,880 Speaker 1: which was where Mike moved Curb Records, where he initially 262 00:16:25,920 --> 00:16:31,360 Speaker 1: moved from California. But yeah, you do have a sense 263 00:16:31,400 --> 00:16:34,840 Speaker 1: that this was a hub of creativity just by the 264 00:16:34,960 --> 00:16:39,640 Speaker 1: nature of all these buildings and just this you know activity, Well, 265 00:16:39,680 --> 00:16:42,440 Speaker 1: I think that's exactly what was so unique about this 266 00:16:42,800 --> 00:16:46,200 Speaker 1: is it was a place where everybody got together that 267 00:16:46,320 --> 00:16:48,640 Speaker 1: used to be a bar and that's where all the 268 00:16:48,720 --> 00:16:52,960 Speaker 1: songwriters would get together throughout the day and tell stories, 269 00:16:53,000 --> 00:16:58,960 Speaker 1: swap lies and make up songs. And it's it's interesting 270 00:16:59,000 --> 00:17:01,720 Speaker 1: that a lot of that is still here. And here's 271 00:17:02,000 --> 00:17:06,600 Speaker 1: RCA's Studio B that's going to be torn down and 272 00:17:06,680 --> 00:17:12,360 Speaker 1: turned into a condo. And thank goodness, Mike Curb save that. 273 00:17:12,960 --> 00:17:15,360 Speaker 1: This is one of the best positioning statements I've ever 274 00:17:15,400 --> 00:17:20,720 Speaker 1: heard in my life. RCA Studio B established November nineteen 275 00:17:20,840 --> 00:17:25,640 Speaker 1: fifty seven, donated to the Country Music Foundation, and then 276 00:17:25,800 --> 00:17:30,720 Speaker 1: the positioning statement, birthplace of a thousand hits, nothing better. 277 00:17:33,240 --> 00:17:36,720 Speaker 1: Some of the hits in here, well, this is where 278 00:17:36,800 --> 00:17:39,440 Speaker 1: Elvis recorded the majority of his here, this is it. 279 00:17:39,760 --> 00:17:44,080 Speaker 1: Everly Brothers recorded here. I think it would be a wonderful, 280 00:17:44,320 --> 00:17:48,560 Speaker 1: wonderful podcast, a buzz night podcast, taking a walk, to 281 00:17:48,640 --> 00:17:50,800 Speaker 1: take a walk through this studio the next time you 282 00:17:50,880 --> 00:17:52,800 Speaker 1: have an opportunity to Oh, I love it, thank you. 283 00:17:53,000 --> 00:17:56,119 Speaker 1: I think that is something we definitely need to make happens. 284 00:17:56,280 --> 00:17:59,439 Speaker 1: I love it. Isn't it fair to say that with 285 00:17:59,560 --> 00:18:02,680 Speaker 1: all the development it certainly is going on in Nashville 286 00:18:03,240 --> 00:18:10,119 Speaker 1: and all in this area, that the greatness is still preserved? Yes? Yes, 287 00:18:11,280 --> 00:18:16,080 Speaker 1: And I think things like your podcast and taking time 288 00:18:16,160 --> 00:18:21,080 Speaker 1: to share this makes people aware of the legacy and 289 00:18:21,119 --> 00:18:23,280 Speaker 1: the history that we have here that we need to preserve. 290 00:18:24,560 --> 00:18:28,520 Speaker 1: What good is music Row if there's no studios down here, 291 00:18:28,560 --> 00:18:32,720 Speaker 1: if there's no publishing houses, if there's no record labels. Again, 292 00:18:32,800 --> 00:18:35,520 Speaker 1: I understand growth. I'm just glad that there are still 293 00:18:35,520 --> 00:18:38,639 Speaker 1: some of these places hanging on because Music Row is 294 00:18:38,680 --> 00:18:42,720 Speaker 1: what brings a lot of the tourists to town, and 295 00:18:43,119 --> 00:18:46,040 Speaker 1: we need to preserve that not only for the tourists, 296 00:18:46,080 --> 00:18:54,959 Speaker 1: but for future musicians and producers and songwriters, record labeled employees, 297 00:18:55,160 --> 00:18:59,760 Speaker 1: and well, Aaron, I can't thank you enough for taking 298 00:18:59,800 --> 00:19:04,200 Speaker 1: me around here and showing us the sites, the sounds, 299 00:19:04,560 --> 00:19:09,359 Speaker 1: the stories of this whole area, this amazing area. Just 300 00:19:09,440 --> 00:19:13,400 Speaker 1: in closing, so you know, as a songwriter and as 301 00:19:13,400 --> 00:19:15,520 Speaker 1: somebody working in the role that you work at at 302 00:19:15,600 --> 00:19:20,320 Speaker 1: CURB and being around the studio, it's just can you 303 00:19:20,400 --> 00:19:26,320 Speaker 1: really explain to the audience how important music is? Well, 304 00:19:26,920 --> 00:19:32,160 Speaker 1: for me, music is important on so many different levels. 305 00:19:31,760 --> 00:19:38,320 Speaker 1: It's an expression of yourself, it's healing, and it brings 306 00:19:38,359 --> 00:19:42,160 Speaker 1: people together. It truly is the international language. I mean, 307 00:19:42,240 --> 00:19:46,359 Speaker 1: you may not be able to speak someone's language, but 308 00:19:46,400 --> 00:19:48,320 Speaker 1: if you have a rhythm or something you can tap 309 00:19:48,400 --> 00:19:54,280 Speaker 1: your tongue to, we can all identify with that. So again, 310 00:19:54,400 --> 00:19:58,879 Speaker 1: I'm just one of the few lucky people who get 311 00:19:58,960 --> 00:20:02,520 Speaker 1: to work in this industry every day, and I'm thankful 312 00:20:02,560 --> 00:20:06,560 Speaker 1: for it and I love sharing it with others. Well, 313 00:20:06,680 --> 00:20:11,879 Speaker 1: I appreciate you sharing your time and your stories and 314 00:20:11,960 --> 00:20:16,399 Speaker 1: carrying the torch here on this taking a walk here 315 00:20:16,520 --> 00:20:19,359 Speaker 1: in Nashville. Thank you so much. Eric, Thank you buzz 316 00:20:19,440 --> 00:20:23,600 Speaker 1: for what you're doing as well. Concerning this, now part 317 00:20:23,640 --> 00:20:26,679 Speaker 1: two of this taking a walk, let's meet up with 318 00:20:26,800 --> 00:20:33,520 Speaker 1: Mike Porter, the facilities manager of thirty four Music Square East. Well, Mike, 319 00:20:33,680 --> 00:20:36,840 Speaker 1: I really appreciate you taking a walk with me through 320 00:20:36,920 --> 00:20:40,639 Speaker 1: the hallowed halls here at the studio. We're always glad 321 00:20:40,680 --> 00:20:42,960 Speaker 1: to do that. I tell people that every person that 322 00:20:43,040 --> 00:20:44,920 Speaker 1: comes in is another breath of life into the place. 323 00:20:44,960 --> 00:20:47,720 Speaker 1: You have the heartbeat into it. So well, we want 324 00:20:47,720 --> 00:20:51,360 Speaker 1: the story tell then you know the stories. Okay, Well, 325 00:20:52,920 --> 00:20:55,840 Speaker 1: we're walking down the hall from what was new construction 326 00:20:55,960 --> 00:21:00,320 Speaker 1: that was the Columbia Label offices into the area where 327 00:21:00,320 --> 00:21:04,040 Speaker 1: the original house stood. It's long gone. It was torn 328 00:21:04,080 --> 00:21:07,159 Speaker 1: down in nineteen sixty two, but This is the area 329 00:21:07,400 --> 00:21:10,359 Speaker 1: of the duplex. This was the basement of the house 330 00:21:10,440 --> 00:21:17,080 Speaker 1: that the Brawley's bought in nineteen fifty five. They had 331 00:21:17,080 --> 00:21:19,800 Speaker 1: a reason for building this here because Paul Cohen was 332 00:21:19,840 --> 00:21:22,000 Speaker 1: going to take his business to Dallas because he didn't 333 00:21:22,160 --> 00:21:26,040 Speaker 1: for Paul was head of Agan ar Ford Decca and 334 00:21:26,280 --> 00:21:28,560 Speaker 1: he didn't think there were any studios in Nashville that 335 00:21:28,680 --> 00:21:32,320 Speaker 1: had the modern equipment, which modern equipment was Neumande microphones 336 00:21:32,320 --> 00:21:36,720 Speaker 1: and EMT echo chambers. And Owen had been working with 337 00:21:36,760 --> 00:21:40,040 Speaker 1: Paul for quite a while of this and he said, well, 338 00:21:40,040 --> 00:21:41,800 Speaker 1: if I build you the studio that you want, can 339 00:21:41,840 --> 00:21:43,679 Speaker 1: I get one hundred sessions a year from you? And 340 00:21:43,720 --> 00:21:46,320 Speaker 1: he said absolutely, So that's what led to this place 341 00:21:47,600 --> 00:21:50,280 Speaker 1: getting built. So this was a two story duplex with 342 00:21:50,359 --> 00:21:54,160 Speaker 1: a full basement in it, and that's what later became 343 00:21:54,280 --> 00:21:57,640 Speaker 1: Music Row. So this was where music Row started. Well 344 00:21:57,640 --> 00:22:01,040 Speaker 1: they're right here, that's awesome. And the studio that was 345 00:22:01,200 --> 00:22:05,880 Speaker 1: here at the time Jeane Vincent, Bappa Lula and it 346 00:22:05,960 --> 00:22:10,600 Speaker 1: was done here, is it? Bobby Venton blue Velvet. All 347 00:22:10,680 --> 00:22:14,760 Speaker 1: things was done in here. And Patsy Klein did the 348 00:22:14,760 --> 00:22:18,199 Speaker 1: first album she did with Owen after she got out 349 00:22:18,240 --> 00:22:21,920 Speaker 1: of the four star contract. This was kind of her rebirth, 350 00:22:23,000 --> 00:22:27,640 Speaker 1: so to speak, in my opinion on that one on 351 00:22:27,680 --> 00:22:31,840 Speaker 1: that album is Walking after Midnight, and it was cut 352 00:22:31,880 --> 00:22:35,920 Speaker 1: in here. And this story came to me from Lou Bradley, 353 00:22:35,960 --> 00:22:38,159 Speaker 1: who was an engineer here for fourteen years, and he 354 00:22:38,240 --> 00:22:44,360 Speaker 1: knew the engineers that were here at that time on 355 00:22:44,359 --> 00:22:46,440 Speaker 1: that session, and the day they were doing that session, 356 00:22:47,680 --> 00:22:51,159 Speaker 1: Patsy was forty five minutes late. I once got a 357 00:22:51,240 --> 00:22:54,080 Speaker 1: room full of musicians here. He's getting a little hot 358 00:22:54,160 --> 00:22:57,320 Speaker 1: under the car. And she finally comes in, and if 359 00:22:57,320 --> 00:22:59,399 Speaker 1: you know anything about Patsy, she was forced to be 360 00:22:59,400 --> 00:23:02,560 Speaker 1: reckoned with and the two of them locked horns and 361 00:23:02,560 --> 00:23:06,399 Speaker 1: there was quite a verbal match going on, and she 362 00:23:06,520 --> 00:23:09,200 Speaker 1: finally said, I've had enough of this. I'm not recording 363 00:23:09,200 --> 00:23:11,160 Speaker 1: for you, son of a bits today. I'm going home. 364 00:23:12,160 --> 00:23:15,360 Speaker 1: So she starts to walk out the door, and I said, 365 00:23:15,400 --> 00:23:19,159 Speaker 1: I'm forgetting the engineer's name. Mart Thomason still said you 366 00:23:19,160 --> 00:23:21,119 Speaker 1: can't go home yet. She said, why can't I go 367 00:23:21,200 --> 00:23:22,879 Speaker 1: home yet? He said, because you haven't given me a 368 00:23:22,960 --> 00:23:25,760 Speaker 1: hug and give me any sugar today. So she went 369 00:23:25,800 --> 00:23:27,520 Speaker 1: over and hugged his neck, picked him on the cheek, 370 00:23:27,560 --> 00:23:29,199 Speaker 1: and he said, before you go, would you do a 371 00:23:29,240 --> 00:23:31,640 Speaker 1: favor for me? She said, I'll do anything you Morton, 372 00:23:31,680 --> 00:23:34,600 Speaker 1: not these other as OB's. What do you want? He said, 373 00:23:34,640 --> 00:23:37,480 Speaker 1: would you do one take for me? She said, I'll 374 00:23:37,520 --> 00:23:40,040 Speaker 1: do anything for you, mort I'll do that. She did 375 00:23:40,040 --> 00:23:42,080 Speaker 1: the one take a walking after midnight and walked out 376 00:23:42,080 --> 00:23:44,520 Speaker 1: the door and that was it. That was the only 377 00:23:45,080 --> 00:23:52,960 Speaker 1: God that's outstanding. So this was actually the third spot 378 00:23:53,119 --> 00:23:56,120 Speaker 1: for Owen and Harold Bradley, the two brothers. They had 379 00:23:57,400 --> 00:24:00,919 Speaker 1: had a recording facility. After the Castle Recording which was 380 00:24:00,960 --> 00:24:04,760 Speaker 1: in the two Lane Hotel shut down, they moved into 381 00:24:04,840 --> 00:24:09,400 Speaker 1: a building battle Lodge, which was like an elks hall 382 00:24:09,440 --> 00:24:14,080 Speaker 1: over at Second in Lensley, and they rented that ball 383 00:24:14,160 --> 00:24:18,720 Speaker 1: room at least that ballroom from the owner. And they 384 00:24:18,720 --> 00:24:21,760 Speaker 1: were renting that for twenty five dollars a month at 385 00:24:21,760 --> 00:24:23,960 Speaker 1: the time, and they did some improvements to it and 386 00:24:24,359 --> 00:24:26,680 Speaker 1: their landlord liked it so much you raised their rent 387 00:24:27,080 --> 00:24:30,639 Speaker 1: to seventy five dollars a month. So that didn't sit 388 00:24:30,720 --> 00:24:33,360 Speaker 1: well with them, so they moved down to a little 389 00:24:33,440 --> 00:24:36,080 Speaker 1: cinder block building in Hillsborough Village, which is just about 390 00:24:36,080 --> 00:24:38,920 Speaker 1: a mile from here. When he and I were here 391 00:24:39,119 --> 00:24:41,919 Speaker 1: when you grew up here. That was ACME School Supply, 392 00:24:42,160 --> 00:24:47,880 Speaker 1: little cinder block building, nondescript. Pat Boone did his first 393 00:24:47,920 --> 00:24:51,320 Speaker 1: recordings in there, and Kitty Wells did recordings in there 394 00:24:51,359 --> 00:24:54,439 Speaker 1: as well. They got to looking around. It wasn't had 395 00:24:54,440 --> 00:24:57,359 Speaker 1: a low ceiling, wasn't condu such a recordings, So they 396 00:24:57,359 --> 00:24:59,639 Speaker 1: got to looking around in this area of town was 397 00:24:59,720 --> 00:25:02,480 Speaker 1: kind of run down and it had just been zone 398 00:25:02,600 --> 00:25:06,520 Speaker 1: mixed use residential commercial. So that's when they bought the 399 00:25:06,560 --> 00:25:13,240 Speaker 1: house and started things here. Foreshadowing Yeah and Owen Well 400 00:25:13,400 --> 00:25:17,720 Speaker 1: back in the days when radio stations had their own bands, 401 00:25:17,920 --> 00:25:23,320 Speaker 1: Owen was the leader for the WSM radio band. Of course, 402 00:25:23,359 --> 00:25:27,679 Speaker 1: the sister station was WSM Television, and he wanted to 403 00:25:27,680 --> 00:25:30,800 Speaker 1: be in film and TV work. So they bought a 404 00:25:30,840 --> 00:25:33,359 Speaker 1: World War two surplus Army QUANTT hut and bolted it 405 00:25:33,400 --> 00:25:34,960 Speaker 1: to the back of the house and that was film 406 00:25:34,960 --> 00:25:38,760 Speaker 1: and TV production, So it was Bradley Recording studios and 407 00:25:38,840 --> 00:25:43,320 Speaker 1: film work here got it. So this little odd set 408 00:25:43,359 --> 00:25:46,760 Speaker 1: of stairs, the QUANTT Hut, has not moved since it 409 00:25:46,840 --> 00:25:49,440 Speaker 1: went in, and this was the basement of the house, 410 00:25:49,480 --> 00:25:56,360 Speaker 1: so we got this little odd elevation change here. If 411 00:25:56,359 --> 00:25:59,400 Speaker 1: these rules could talk right. Well, I've been in there 412 00:25:59,400 --> 00:26:01,680 Speaker 1: with Little Brown when it's quiet and you can kind 413 00:26:01,680 --> 00:26:06,359 Speaker 1: of hear it. Yeah, yeah, of course for your podcast 414 00:26:06,359 --> 00:26:09,160 Speaker 1: other than work. That was the house that's here, yep, 415 00:26:09,440 --> 00:26:12,919 Speaker 1: And you can kind of see the QUANTT Hut bolted 416 00:26:13,000 --> 00:26:16,440 Speaker 1: the back and there was an apartment building on the corner. 417 00:26:16,600 --> 00:26:18,879 Speaker 1: So the house is right here. So this is a 418 00:26:18,920 --> 00:26:22,080 Speaker 1: three story apartment building and it's the only case I 419 00:26:22,119 --> 00:26:24,120 Speaker 1: know off they tore down an apartment building and build 420 00:26:24,160 --> 00:26:29,119 Speaker 1: a studio and out the other way around. Right. So 421 00:26:29,280 --> 00:26:33,080 Speaker 1: there's a period piece of recording equipment right there that's 422 00:26:33,080 --> 00:26:37,480 Speaker 1: from about nineteen fifty three. Wow, So this is the 423 00:26:37,560 --> 00:26:41,600 Speaker 1: QUANTT huttly spoke. A lot of people think it's been 424 00:26:41,600 --> 00:26:44,200 Speaker 1: torn down because the front of the building says historic 425 00:26:44,280 --> 00:26:47,880 Speaker 1: Site of the QUANTT Hut. But it is indeed still here, 426 00:26:48,080 --> 00:26:51,680 Speaker 1: just everything's been built around it. There's a little spot 427 00:26:51,680 --> 00:26:53,439 Speaker 1: out in the back parking lot you can look up 428 00:26:53,440 --> 00:26:55,560 Speaker 1: and still see a little bit of exposed car get 429 00:26:55,680 --> 00:27:03,119 Speaker 1: steel on it. Wow, this is sacred. Yeah, it's a 430 00:27:03,160 --> 00:27:10,760 Speaker 1: neat place. So in here, of course, Patsy Cline recorded 431 00:27:10,760 --> 00:27:17,480 Speaker 1: in here, George and Tammy Oneett, John and Jim Carter 432 00:27:17,600 --> 00:27:20,800 Speaker 1: Cash all that stuff, Roger Miller always big hits came 433 00:27:20,880 --> 00:27:26,600 Speaker 1: out of this room. Three of the top five Christmas 434 00:27:26,600 --> 00:27:28,880 Speaker 1: singles that people know. We're done in here really. It's 435 00:27:28,920 --> 00:27:31,400 Speaker 1: Holly Jolly Christmas, Jingle Bill, Rock and Rock un around 436 00:27:31,440 --> 00:27:37,879 Speaker 1: the Christmas Tree, all done in here. And then another 437 00:27:37,920 --> 00:27:42,879 Speaker 1: little bit of history is that fuzz tone recording was 438 00:27:43,119 --> 00:27:46,199 Speaker 1: an accident that happened in here really which led to 439 00:27:46,240 --> 00:27:50,000 Speaker 1: the development of the fuzz tone guitar pedal. And that 440 00:27:50,200 --> 00:27:54,000 Speaker 1: was on a session. Grady Martin was one of the 441 00:27:54,119 --> 00:27:57,800 Speaker 1: eighteen prolific guitar players. The way they used to record 442 00:27:58,640 --> 00:28:01,560 Speaker 1: electric guitar directly, just put alligator clips on the back 443 00:28:01,560 --> 00:28:03,720 Speaker 1: of the speaker, ran it through a transformer right into 444 00:28:03,720 --> 00:28:05,920 Speaker 1: the console, which was kind of like sticking your tongue 445 00:28:05,960 --> 00:28:10,000 Speaker 1: in a white socket. It's a pretty hot signal. And 446 00:28:10,600 --> 00:28:13,840 Speaker 1: that particular day, the engineer as he took him up, 447 00:28:13,840 --> 00:28:16,000 Speaker 1: he told Grady, he said, don't play anything to like 448 00:28:16,040 --> 00:28:17,520 Speaker 1: get in there, and turned the game down. It set 449 00:28:17,560 --> 00:28:20,320 Speaker 1: way too high, and of course just as he walked 450 00:28:20,320 --> 00:28:22,399 Speaker 1: in there, Grady played something and it blew up that 451 00:28:22,560 --> 00:28:26,080 Speaker 1: it was a tube console, so it wrecked, didn't completely 452 00:28:26,080 --> 00:28:30,360 Speaker 1: break it and he said, man, I told you don't 453 00:28:30,400 --> 00:28:33,480 Speaker 1: do that. I got to replace this pre amp in here, 454 00:28:33,520 --> 00:28:37,120 Speaker 1: and Grady recognized it was something musical at that point 455 00:28:37,160 --> 00:28:38,840 Speaker 1: he said, no, leave it alone. We're going to do it. 456 00:28:38,920 --> 00:28:42,440 Speaker 1: So if you go back and listen to Don't Worry 457 00:28:42,440 --> 00:28:49,200 Speaker 1: by Marty Robbins, Sorry, you'll hear the really distorted guitar 458 00:28:49,480 --> 00:28:54,120 Speaker 1: solo that became to be known as fuzz Tone, and 459 00:28:54,520 --> 00:28:57,600 Speaker 1: that song was a hit. Grady did another solo album 460 00:28:58,080 --> 00:29:00,720 Speaker 1: and on it was a song called the Fuzz where 461 00:29:00,760 --> 00:29:03,440 Speaker 1: he years that broken module and it was a real 462 00:29:03,520 --> 00:29:07,840 Speaker 1: odd mash up with distorted guitar and orchestra. So that 463 00:29:07,920 --> 00:29:09,760 Speaker 1: was a hit, and then people got to talking about 464 00:29:09,800 --> 00:29:12,760 Speaker 1: what's this fuzz tone we're hearing about? So Owen realized 465 00:29:12,800 --> 00:29:15,160 Speaker 1: at that point that he had something that was marketable. 466 00:29:15,880 --> 00:29:19,400 Speaker 1: So they didn't repair that module. They kept it and 467 00:29:19,440 --> 00:29:23,080 Speaker 1: if you wanted fuzzt tone of your record, you booked 468 00:29:23,080 --> 00:29:25,920 Speaker 1: Bradley Studio B and they brought out a real plug in, 469 00:29:26,240 --> 00:29:30,240 Speaker 1: late piece of equipment plugged in and years that interesting 470 00:29:31,640 --> 00:29:33,640 Speaker 1: when you, I mean, it's amazing, I don't know when 471 00:29:33,640 --> 00:29:37,880 Speaker 1: you just sort of l take this in here, I 472 00:29:37,880 --> 00:29:41,040 Speaker 1: don't know, the vibe is pretty unique here. It's pretty intense. 473 00:29:42,360 --> 00:29:47,240 Speaker 1: I have a lot of fun showing people, particularly this space, 474 00:29:48,880 --> 00:29:51,040 Speaker 1: and since my office faces right out in the row, 475 00:29:51,120 --> 00:29:53,000 Speaker 1: I see a lot of people. I can usually tell 476 00:29:54,040 --> 00:29:57,760 Speaker 1: a Patsy Klin fan or a Bob Dylan fan, and 477 00:29:57,840 --> 00:30:01,360 Speaker 1: sometimes I'll go out and meet him and asked them 478 00:30:01,400 --> 00:30:03,200 Speaker 1: if they want a tour, which is pretty neat. I 479 00:30:03,240 --> 00:30:05,160 Speaker 1: had a couple of ladies that had gotten separated from 480 00:30:05,200 --> 00:30:07,240 Speaker 1: their formal tour one day and brought them in and 481 00:30:07,280 --> 00:30:09,840 Speaker 1: just kind of steered them a right here, and I 482 00:30:09,880 --> 00:30:11,560 Speaker 1: was talking to him, and I had a lady standing 483 00:30:11,600 --> 00:30:13,240 Speaker 1: where you're standing, and I said, oh, by the way, 484 00:30:13,280 --> 00:30:17,080 Speaker 1: that's where Patsy stood, and she immediately dispersed into tears. 485 00:30:17,480 --> 00:30:21,680 Speaker 1: It's a very powerful spot for some people in here. 486 00:30:22,000 --> 00:30:25,160 Speaker 1: And so Dylan did a number of sessions. He did 487 00:30:25,280 --> 00:30:28,000 Speaker 1: uh Blonde on Blonde and National Skyline up in Columbia. 488 00:30:28,080 --> 00:30:32,120 Speaker 1: A Okay, now you'll see references on the internet to 489 00:30:33,680 --> 00:30:36,960 Speaker 1: him having done self portrait in the Quantit Hut, and 490 00:30:37,000 --> 00:30:40,640 Speaker 1: there's some element of truth to that. He had already 491 00:30:40,680 --> 00:30:45,719 Speaker 1: laid down the basic vocal and rhythm guitar tracks and 492 00:30:45,760 --> 00:30:49,640 Speaker 1: they brought that into quantt hut and overdubbed everything else. 493 00:30:49,760 --> 00:30:53,240 Speaker 1: So little Bradley, the engineer I mentioned before, actually did those. 494 00:30:53,600 --> 00:30:56,360 Speaker 1: But Dylan may have dropped his head in here, but 495 00:30:56,440 --> 00:30:58,560 Speaker 1: he did not do any recording per se in this 496 00:30:58,640 --> 00:31:02,360 Speaker 1: ring got it. All the other stuff was upstairs. But 497 00:31:02,520 --> 00:31:10,760 Speaker 1: Patsy yep, a force of nature absolutely. And it's just 498 00:31:10,800 --> 00:31:14,600 Speaker 1: a nondescriptive building. I mean, it shouldn't work in theory, 499 00:31:14,640 --> 00:31:17,280 Speaker 1: it should not work because of you got this half 500 00:31:17,320 --> 00:31:20,360 Speaker 1: circle building. But they treated this as not the treatment 501 00:31:20,360 --> 00:31:23,040 Speaker 1: that was done back then. But it worked. And what's 502 00:31:23,080 --> 00:31:27,640 Speaker 1: interesting is how we were talking about this with Aaron earlier, 503 00:31:27,800 --> 00:31:32,840 Speaker 1: how the science of you know, sonics and engineering has 504 00:31:32,880 --> 00:31:38,400 Speaker 1: so evolved, you know, from this from this beginning or 505 00:31:38,600 --> 00:31:41,720 Speaker 1: certainly other beginnings. Yeah, they did what they had to 506 00:31:41,760 --> 00:31:43,960 Speaker 1: do to make it work. There was no science behind it. 507 00:31:44,200 --> 00:31:49,280 Speaker 1: All your ears and and equipment fixed. What can you 508 00:31:49,360 --> 00:31:53,360 Speaker 1: do to make that work? So how often does a 509 00:31:53,440 --> 00:31:57,120 Speaker 1: you know, a newer artist or musician want to come 510 00:31:57,160 --> 00:32:00,640 Speaker 1: here and take this in just for a sense of 511 00:32:00,720 --> 00:32:03,560 Speaker 1: appreciating history. Well, anytime we can share it as part 512 00:32:03,600 --> 00:32:06,000 Speaker 1: of a tour or just a visit. If I can 513 00:32:06,040 --> 00:32:08,760 Speaker 1: fit it in between classes. I'll certainly do that because 514 00:32:08,800 --> 00:32:12,160 Speaker 1: it's important to keep that history going. We don't do 515 00:32:12,200 --> 00:32:17,360 Speaker 1: any commercial sessions here anymore. We could, but one, we 516 00:32:17,400 --> 00:32:20,680 Speaker 1: don't want to compete with our neighbors because as a 517 00:32:20,920 --> 00:32:24,239 Speaker 1: recording school, we could undercut anybody, but we don't do that. 518 00:32:25,120 --> 00:32:29,440 Speaker 1: Number Two, I have been around long enough and it 519 00:32:29,560 --> 00:32:32,520 Speaker 1: worked is with a major manufacturer. I've been able to 520 00:32:32,520 --> 00:32:34,800 Speaker 1: service other parts of the country, and I have seen 521 00:32:34,920 --> 00:32:38,360 Speaker 1: for profit schools attempt to do that, or they have 522 00:32:38,600 --> 00:32:41,960 Speaker 1: opened themselves up to booking commercial sessions and it doesn't 523 00:32:42,040 --> 00:32:45,800 Speaker 1: end well for anybody. The talent hasn't been developed yet 524 00:32:46,520 --> 00:32:48,920 Speaker 1: for that, and people the customer has to go pay 525 00:32:48,960 --> 00:32:51,720 Speaker 1: again to have it fixed. So we just don't cross 526 00:32:51,800 --> 00:32:57,840 Speaker 1: that bridge. We're here to train and educate. It's not 527 00:32:57,880 --> 00:33:02,680 Speaker 1: a profit center. It's education. The Bradleys ran this facility 528 00:33:02,680 --> 00:33:06,720 Speaker 1: from fifty five until nineteen sixty two, and sixty two 529 00:33:06,840 --> 00:33:10,240 Speaker 1: is when Columbia wanted a presence of physical presence in Nashville, 530 00:33:10,360 --> 00:33:14,400 Speaker 1: so they offered to buy the house and the quantt 531 00:33:14,480 --> 00:33:17,040 Speaker 1: Hut from the Bradley's and then the property next door 532 00:33:17,080 --> 00:33:20,080 Speaker 1: where the apartment buildings stood, and they were going to 533 00:33:20,080 --> 00:33:25,800 Speaker 1: bulldoze all three structures, but O and Owen Bradley and 534 00:33:25,840 --> 00:33:30,560 Speaker 1: Don Law, who was the NR guy for DECA, convinced 535 00:33:30,600 --> 00:33:32,640 Speaker 1: him to leave it alone. So that's why this building 536 00:33:32,760 --> 00:33:35,719 Speaker 1: is still here. So just the way things go full circle. 537 00:33:35,840 --> 00:33:40,280 Speaker 1: So I'm from Boston, from Connecticut originally, but I lived 538 00:33:40,360 --> 00:33:46,680 Speaker 1: outside of Boston, and the Live Nation President of record 539 00:33:47,040 --> 00:33:52,160 Speaker 1: around that area is Don Law Junior. Okay, okay, So 540 00:33:52,480 --> 00:33:55,680 Speaker 1: I had always heard about Don Law's father. Yeah, so 541 00:33:55,880 --> 00:34:01,240 Speaker 1: he just clarified that piece of the story. That's interesting. Yeah, 542 00:34:01,800 --> 00:34:06,440 Speaker 1: we'll walk upstairs. Sure, Okay. People ask us if we 543 00:34:06,560 --> 00:34:09,520 Speaker 1: have any original equipment here, and the quick answer is no, 544 00:34:10,480 --> 00:34:15,040 Speaker 1: that all got sold when the studio shut down. We 545 00:34:15,040 --> 00:34:23,239 Speaker 1: were able to acquire the Bradley Microphone Collection, which has 546 00:34:24,280 --> 00:34:29,360 Speaker 1: vintage microphones that were used not only at this facility 547 00:34:29,400 --> 00:34:32,120 Speaker 1: but also at the Bradley's barn in Mount Juliet and 548 00:34:32,160 --> 00:34:35,600 Speaker 1: also when they had RCA studio a which at that 549 00:34:35,640 --> 00:34:39,960 Speaker 1: time was known as Music City Music Mill. I think. 550 00:34:40,880 --> 00:34:45,479 Speaker 1: So that's a very expensive collection of microphones. We don't 551 00:34:45,560 --> 00:34:50,120 Speaker 1: let freshman's freshman students get their hands on those because 552 00:34:50,120 --> 00:34:52,080 Speaker 1: some of those are thirty grand to pop. Oh, let's 553 00:34:52,120 --> 00:34:56,879 Speaker 1: see and for some reason, students don't seem to hold 554 00:34:56,880 --> 00:35:03,080 Speaker 1: things in their hands very tightly. But another little tidbit 555 00:35:03,120 --> 00:35:07,160 Speaker 1: about the QUANTT. Hut al Ganaway, who produced a lot 556 00:35:07,200 --> 00:35:11,360 Speaker 1: of television. There's a series there was a series shot 557 00:35:11,400 --> 00:35:14,760 Speaker 1: in the late fifties early sixties called Country Style USA. 558 00:35:15,520 --> 00:35:17,560 Speaker 1: And if you look on YouTube, you can find those 559 00:35:17,600 --> 00:35:21,440 Speaker 1: and anybody was anybody in the country music industry at 560 00:35:21,440 --> 00:35:25,319 Speaker 1: that time. You'll find segments of them shot downstairs when 561 00:35:25,320 --> 00:35:29,160 Speaker 1: that was a film studio, and that would be you 562 00:35:29,239 --> 00:35:32,480 Speaker 1: name it there in there wow. And it was a 563 00:35:32,520 --> 00:35:35,440 Speaker 1: program that was sponsored by the US Army Recruiting Office. 564 00:35:36,320 --> 00:35:39,560 Speaker 1: So one week there's a sergeant introducing acts and another 565 00:35:39,640 --> 00:35:42,439 Speaker 1: one might be a colonel and a captain in another week. 566 00:35:43,120 --> 00:35:45,359 Speaker 1: So it's interesting to go back and watch some of those. 567 00:35:46,719 --> 00:35:52,240 Speaker 1: My king technique was stellar, was the audio is excellent. 568 00:35:52,760 --> 00:35:55,920 Speaker 1: And you never see any microphones really, they were hidden 569 00:35:55,920 --> 00:35:59,359 Speaker 1: in haybales and oh really other stuff. That's a good trick. 570 00:36:00,600 --> 00:36:03,000 Speaker 1: I still learned something on the mic technique. Where we 571 00:36:03,120 --> 00:36:06,319 Speaker 1: just entered. This was the new part built to by 572 00:36:06,360 --> 00:36:16,279 Speaker 1: Columbia in nineteen sixty two. This room was built to 573 00:36:16,600 --> 00:36:22,280 Speaker 1: Columbia specifications. They had their own engineering facilities for both 574 00:36:22,440 --> 00:36:25,719 Speaker 1: designing studios and building equipment, so the consoles that were 575 00:36:25,719 --> 00:36:29,160 Speaker 1: in here at the time were built by Columbia Labs. 576 00:36:29,760 --> 00:36:31,880 Speaker 1: This room was built just like they built rooms in 577 00:36:31,920 --> 00:36:35,279 Speaker 1: New York or LA. The floor actually floats on big 578 00:36:35,320 --> 00:36:39,360 Speaker 1: springs to isolate it from the outside world, which in 579 00:36:39,480 --> 00:36:43,720 Speaker 1: theory is great. In actual practice it was horrible because 580 00:36:43,719 --> 00:36:46,319 Speaker 1: this floor resonates at about eighty two hertz, and that 581 00:36:46,440 --> 00:36:49,720 Speaker 1: just sucks that eighty two herts out. So the engineers 582 00:36:49,719 --> 00:36:54,279 Speaker 1: were always fighting that dip in the low end in here. 583 00:36:55,360 --> 00:36:58,680 Speaker 1: That's crazy. Lynn Anderson's that a promise you a rose 584 00:36:58,719 --> 00:37:02,120 Speaker 1: garden was cut in this room. Of course, you know, 585 00:37:02,400 --> 00:37:06,840 Speaker 1: fifty some odd years ago Dylan came to town and 586 00:37:06,920 --> 00:37:13,200 Speaker 1: changed Nashville's history in this room. At that time, the 587 00:37:13,280 --> 00:37:16,239 Speaker 1: brass at the other pop labels and stuff didn't think 588 00:37:16,280 --> 00:37:20,360 Speaker 1: that Nashrey musicians could do anything other than country stuff. 589 00:37:20,680 --> 00:37:24,040 Speaker 1: And you're talking Nashville Skyline or Blonde Blah Blah Blonde. 590 00:37:24,120 --> 00:37:26,480 Speaker 1: Nashville Skyline and John Wesley Harding were all done in 591 00:37:26,480 --> 00:37:31,359 Speaker 1: this room, right, and that changed. That's when we are 592 00:37:31,520 --> 00:37:34,000 Speaker 1: Nashville already knew it, but that's when the rest of 593 00:37:34,000 --> 00:37:36,400 Speaker 1: the world woke up and said, national musicians are pretty 594 00:37:36,440 --> 00:37:41,239 Speaker 1: darn good. Yeah, it was interesting because people didn't necessarily 595 00:37:42,120 --> 00:37:45,160 Speaker 1: evaluate it with blonde m blonde, even though it was 596 00:37:45,200 --> 00:37:49,600 Speaker 1: all in there with these great players, right like Charlie McCoy. 597 00:37:50,239 --> 00:37:52,600 Speaker 1: Charlie was the bait to get Dylan down here, is 598 00:37:52,640 --> 00:37:55,040 Speaker 1: that right? And he will tell you that story that, yeah, 599 00:37:55,120 --> 00:37:57,319 Speaker 1: I was the bait to bring Dylan to town. But 600 00:37:57,440 --> 00:38:01,960 Speaker 1: then when Nashville Skyline happened, that totally flipped everybody out 601 00:38:02,080 --> 00:38:05,799 Speaker 1: because I don't know if this is true, but we 602 00:38:05,880 --> 00:38:10,160 Speaker 1: had heard he stopped smoking and that's why his vocals 603 00:38:10,239 --> 00:38:12,480 Speaker 1: sounded different. There's a lot of people know a lot 604 00:38:12,480 --> 00:38:15,600 Speaker 1: more about Dylan than I do. And I had another 605 00:38:15,640 --> 00:38:18,200 Speaker 1: interesting story living there. I had just a surprise guest. 606 00:38:18,480 --> 00:38:22,840 Speaker 1: This was abobutly six weeks ago. Two guys showed up 607 00:38:22,840 --> 00:38:25,040 Speaker 1: at the front door because they wanted to see it, 608 00:38:25,080 --> 00:38:28,040 Speaker 1: and I of course had time and found out that 609 00:38:28,800 --> 00:38:31,600 Speaker 1: one of the guys was the pastor of the largest 610 00:38:31,640 --> 00:38:35,960 Speaker 1: Christian church in Jerusalem, who also happens to be a 611 00:38:36,120 --> 00:38:40,279 Speaker 1: walking Dylan encyclopedia. And he was telling me stuff. I 612 00:38:40,320 --> 00:38:44,080 Speaker 1: had no idea, but he had gotten a ride from Ridgecrest, 613 00:38:44,080 --> 00:38:46,600 Speaker 1: North Carolina with a guy in Nashville to get back 614 00:38:46,600 --> 00:38:49,320 Speaker 1: over to Nashville for something. And they were just driving 615 00:38:49,360 --> 00:38:51,600 Speaker 1: down the street out here. All of a sudden, the 616 00:38:51,640 --> 00:38:54,279 Speaker 1: guy's going, that's the building, that's the building stopped, so 617 00:38:54,320 --> 00:38:57,440 Speaker 1: he stopped in the middle of Music Music Square. He's 618 00:38:57,480 --> 00:39:00,640 Speaker 1: then backed up and came in here and we spent 619 00:39:00,840 --> 00:39:05,520 Speaker 1: a really nice hour and a half talking history in here. Yeah. 620 00:39:05,560 --> 00:39:09,400 Speaker 1: Well those I mean, you know, Blonde don Blind, Nashville Skyline, 621 00:39:09,600 --> 00:39:16,439 Speaker 1: John Wesley Harding, I mean, those are that that really 622 00:39:16,480 --> 00:39:19,560 Speaker 1: broke Nashville open to the rest of the world. And then, 623 00:39:19,680 --> 00:39:23,440 Speaker 1: in typical fashion, then of course Dylan moved on to 624 00:39:23,520 --> 00:39:27,680 Speaker 1: something else. Yeah, yeah, you know that is on a 625 00:39:28,200 --> 00:39:30,719 Speaker 1: distillery here now he does. Yeah, he bought an old 626 00:39:30,800 --> 00:39:36,239 Speaker 1: church just over just south of downtown. That's his distillery. 627 00:39:36,640 --> 00:39:39,560 Speaker 1: The book is great that he has the philosophy of 628 00:39:39,640 --> 00:39:43,840 Speaker 1: modern I was telling Aaron about a modern song and he, uh, 629 00:39:44,480 --> 00:39:49,200 Speaker 1: he breaks it down. Uh. Many songs I knew and 630 00:39:49,280 --> 00:39:52,560 Speaker 1: many I didn't know. You know, but in a very 631 00:39:52,760 --> 00:39:57,879 Speaker 1: I mean you hear Bob's voice in his writing, you know. Yeah, 632 00:39:58,000 --> 00:40:01,360 Speaker 1: that's Uh. He showed up for his first session in here. 633 00:40:02,120 --> 00:40:04,200 Speaker 1: His flight had been late, so the musicians had been 634 00:40:04,200 --> 00:40:06,520 Speaker 1: here since like two. He didn't get until five and 635 00:40:06,560 --> 00:40:11,000 Speaker 1: had no song written, so he went downstairs and finally 636 00:40:11,040 --> 00:40:14,520 Speaker 1: at two am the next morning they started recording the 637 00:40:14,520 --> 00:40:17,719 Speaker 1: first song. Is that right? Yeah? So he just like 638 00:40:18,520 --> 00:40:24,680 Speaker 1: got here, hunkered down, probably had everything in some skeletal fashion, 639 00:40:25,160 --> 00:40:31,560 Speaker 1: but then put it all together. Yep. Wow. And this 640 00:40:31,719 --> 00:40:34,360 Speaker 1: console that's in here has its own story as well. 641 00:40:35,320 --> 00:40:37,720 Speaker 1: I mean, every we can go in here if you want, sure, 642 00:40:39,320 --> 00:40:43,000 Speaker 1: every large console from the major manufacturers, they all have 643 00:40:44,000 --> 00:40:46,799 Speaker 1: a lineage to them in a history that kind of 644 00:40:46,840 --> 00:40:51,239 Speaker 1: follows them around. And this is an API built. It's 645 00:40:51,239 --> 00:40:55,759 Speaker 1: an API is still around. It's a US company. And 646 00:40:56,120 --> 00:41:00,640 Speaker 1: this console was built in nineteen seventy two. And it's 647 00:41:00,640 --> 00:41:03,880 Speaker 1: not that it's an old console. We can't afford something nicer. 648 00:41:05,120 --> 00:41:11,879 Speaker 1: It's a classic console discrete electronics, sounds great and it 649 00:41:12,040 --> 00:41:16,439 Speaker 1: just does a tank. You can't kill it. But when 650 00:41:16,440 --> 00:41:18,960 Speaker 1: this console was brand new, it was owned by Wally 651 00:41:19,040 --> 00:41:22,880 Speaker 1: Hyder Remote Recording Services out of San Francisco and was 652 00:41:22,920 --> 00:41:27,560 Speaker 1: on their truck. And this console did the band last. 653 00:41:27,600 --> 00:41:32,560 Speaker 1: Waltz did the West Coast tourt Frampton comes Alive did 654 00:41:32,600 --> 00:41:39,360 Speaker 1: to Rolling Stones Live Albums, and Heat in turn sold 655 00:41:39,400 --> 00:41:45,400 Speaker 1: it to another remote truck company out of Los Angeles. 656 00:41:46,640 --> 00:41:48,960 Speaker 1: Chris Stone at the record plant had it on a 657 00:41:48,960 --> 00:41:52,880 Speaker 1: truck and then they sold it later to Paul Christensen 658 00:41:52,880 --> 00:41:55,880 Speaker 1: out of Omega Productions out of Dallas. He put it 659 00:41:55,920 --> 00:41:59,800 Speaker 1: on a truck. And this console had never been inside 660 00:41:59,800 --> 00:42:03,160 Speaker 1: a building until we bought it about eighteen years ago, 661 00:42:03,200 --> 00:42:05,800 Speaker 1: and we found it in the back of a shag 662 00:42:05,840 --> 00:42:08,560 Speaker 1: carpeted remote truck in the middle of a barnyard in Texas. 663 00:42:10,840 --> 00:42:15,080 Speaker 1: It had gotten sold from Paul Christensen to someone else 664 00:42:15,719 --> 00:42:19,719 Speaker 1: that we kind of knew, we kind of had, We 665 00:42:20,320 --> 00:42:21,960 Speaker 1: had kind of been followed, we kind of knew where 666 00:42:21,960 --> 00:42:25,280 Speaker 1: it was, and Paul Christensen, who had had it before, 667 00:42:25,320 --> 00:42:27,680 Speaker 1: had actually sold it to I think a former employee, 668 00:42:28,920 --> 00:42:30,600 Speaker 1: and that's when we found out that it was in 669 00:42:31,080 --> 00:42:35,040 Speaker 1: They found it. So we bought the entire truck and 670 00:42:35,080 --> 00:42:37,799 Speaker 1: towed it to Nashville, got the console out of it, 671 00:42:37,880 --> 00:42:41,040 Speaker 1: a few pieces of gear, and that La too down there, 672 00:42:41,120 --> 00:42:45,080 Speaker 1: still has a Wally Hider sticker on it. That's the 673 00:42:45,120 --> 00:42:48,359 Speaker 1: one you're looking at now as an Ampex tape machine electronics, 674 00:42:48,960 --> 00:42:50,840 Speaker 1: and that's the one that still has the Wally Hider 675 00:42:51,080 --> 00:42:55,160 Speaker 1: tag on there. So here's a console built in seventy two, 676 00:42:55,239 --> 00:42:58,040 Speaker 1: which is long before most of our students were Their 677 00:42:58,400 --> 00:43:02,680 Speaker 1: parents were still in high school at that. That's in 678 00:43:02,719 --> 00:43:06,520 Speaker 1: here working every day man teaching a new generation. So 679 00:43:06,560 --> 00:43:11,240 Speaker 1: we in both studios here we teach full analog process. 680 00:43:12,520 --> 00:43:15,080 Speaker 1: We did sell our multi track tape machines a few 681 00:43:15,160 --> 00:43:19,200 Speaker 1: years ago. The time was right to that they're expensive 682 00:43:19,200 --> 00:43:22,640 Speaker 1: to maintain. We do have pro tools in here, but 683 00:43:22,680 --> 00:43:26,640 Speaker 1: it only serves in this capacity here as the tape recorder. 684 00:43:26,960 --> 00:43:30,640 Speaker 1: It's just the storage device. Everything else is analog to 685 00:43:30,680 --> 00:43:34,160 Speaker 1: teach them that process. I mean, just to fathom all 686 00:43:34,239 --> 00:43:40,200 Speaker 1: the music that's come through this. Yeah. God, if you 687 00:43:40,239 --> 00:43:45,839 Speaker 1: go to Paul Christensen the website Omega Productions, he's got 688 00:43:45,880 --> 00:43:50,200 Speaker 1: extensive history on this console in there. We do have 689 00:43:50,280 --> 00:43:53,280 Speaker 1: plans to replace both consoles on the building with something newer. 690 00:43:54,320 --> 00:43:56,480 Speaker 1: This one will stay in the Belmont family. We have 691 00:43:56,560 --> 00:43:59,120 Speaker 1: another plan for it. So it's I don't want it 692 00:43:59,120 --> 00:44:02,480 Speaker 1: to go away because it's too important and it's too 693 00:44:02,480 --> 00:44:05,040 Speaker 1: great up an old console for it to get away 694 00:44:05,040 --> 00:44:07,520 Speaker 1: from us. Yeah, I can't let that one get away. 695 00:44:08,280 --> 00:44:11,480 Speaker 1: So that's kind of our technical tour here. That's fantastic. 696 00:44:11,880 --> 00:44:17,239 Speaker 1: I'm so grateful that you shared the stories, took us 697 00:44:17,280 --> 00:44:22,240 Speaker 1: around and let us take this in which I'm stowing off. 698 00:44:23,640 --> 00:44:27,200 Speaker 1: It's a neat place to work, it really is. No 699 00:44:27,280 --> 00:44:29,680 Speaker 1: two days are the same whenever ns who may show 700 00:44:29,760 --> 00:44:32,799 Speaker 1: up at the front door. Had the Secretary of the 701 00:44:32,800 --> 00:44:35,239 Speaker 1: Department of Education showed up at the front door three 702 00:44:35,280 --> 00:44:40,279 Speaker 1: weeks ago, really after his bodyguard had showed up. We 703 00:44:40,360 --> 00:44:43,560 Speaker 1: had a US marshall come to my office door, and 704 00:44:43,560 --> 00:44:45,160 Speaker 1: that was a surprise to look up and see a 705 00:44:45,160 --> 00:44:49,400 Speaker 1: little gold badge down here. I was getting vetted and 706 00:44:49,600 --> 00:44:51,160 Speaker 1: had to show them the building and show them where 707 00:44:51,160 --> 00:44:53,399 Speaker 1: all the exits were. But we had a really nice 708 00:44:53,480 --> 00:44:55,120 Speaker 1: visit with him for about a half an hour. He 709 00:44:55,200 --> 00:44:59,560 Speaker 1: got to talk to some students, so it's always interesting. Well, Mike, 710 00:44:59,600 --> 00:45:04,080 Speaker 1: thanks for preserving history, sharing history and taking a walk 711 00:45:04,120 --> 00:45:07,800 Speaker 1: for sure pleasure. And thanks to Myke Curb for keeping 712 00:45:07,840 --> 00:45:12,400 Speaker 1: his place around. Yes, thank you, mister Curb. Taking a 713 00:45:12,480 --> 00:45:17,879 Speaker 1: Walk with Buzznight is available on Spotify, Apple Podcasts, or 714 00:45:18,080 --> 00:45:19,879 Speaker 1: wherever you get your podcasts.