Leslie Kong / Beverley's

[Robert Blythin]

Hello everyone!

Me & some friends intend to record some music in the near future. We are researching our favourite recordings after becoming disillusioned with most of the (a lot of the time digital) recordings of the past 30 years or so. This is so we can source some 'old' tape machines/microphones etc to give our recordings a REAL sound!

One of these recordings is 007 (Shanty Town) by Desmond Dekker, recorded by Leslie Kong at his studio Beverley's.

I've been looking around the internet & there doesn't seem to be any info on what equipment Kong had in his studio.

I thought I would post here as there could be someone who knows about this or could point me in the right direction,

Thanks for your time & any help you can give me,

Regards,

Rob

P.S. I know its a long shot but would anyone happen to know what tape machine was used to record Bob Marley's Acoustic Medley (off Songs Of Freedom)...I believe it could have been Johnny Nash's Nagra machine (which he 'took' in Sweden)

[Inyaki]

Leslie Kong didn't own a studio called Beverleys, he used WIRL ( later re-built as Dynamic Sounds, Byron Lee family's studio)
Watch "The harder They Come", Mr Kong does a brief appearance, and you'll see the mixing desk, he instruments, and the top musicians.
You won't get that sound just by acquiring the same equipment....Lyn Taitt, Jackie Jackson , Gladdy, etc...were unbelievable musicians.

[ACEtone]

Just my opinion:
I don't personally think the specific make of tape machine is going to significantly aid you in getting closer to any particular studio sound.
I would suggest that the mixing board is a more important factor and indeed whatever effects were used to enhance the sound.
You probably know a vintage spring reverb is a good place to start.
Also the make of instruments and amps will help a lot.
And failing all of the above a good pair of ears helps when trying to get the older sounds which to some extent with obsessive effort can be eked from modern day equipment.

Lacking $$$ I have always had to take the latter approach! Though whether my ears are any good or not is not for me to say...

@Inyaki - good points. Funny how Kong had such distinctive a sound even though he used the same studio as many other producers. Always wondered what he might have produced if he hadn't passed on so tragically young.

[Robert Blythin]

Hello, thanks for the replies.
@Inyaki. Thanks for pointing out that he didn't record at Beverley's. I've read in quite a few different places that he made a studio above the ice cream parlor/record shop that he owned. This is perhaps myth & I'm off to my local library (Manchester Central, UK) to look at some Jamaican music history books.

@ACEtone. The mixing console does play a very important part in the recording chain yes. Often they contain the preamps to boost the microphone levels to a useful level, imparting a certain colour to the signal. Also the electronics contained within change the sound somewhat. Although the difference between recording through a shoddy analog/digital converter & to a vintage valve tape machine is also huge in terms of the final sound quality.

@both. I'm not under any illusion that by simply buying the same equipment I'm automatically going to get the same sound. Of course not. The music / musicians / performance / instruments / room are the most influential facotrs...then you're onto the microphones, preamps, effects, mixer & tape machine etc's part in the final sound. I'm researching many different recordings from folk to ska & it's becoming clear (to me at least) that the zenith of technology for music recording purposes was around the late 60's, certainly no later than 1980 anyway. Due to large company's attempts to find ways of storing music on smaller mediums (at the expense of quality!) in order to get maximum profit such technology as CDs,cassettes,mp3s etc. came along.
Can you fellas honestly say anything after at the latest early 80's actually sounds any good? I don't think so & this has a lot to do with the technology (as well as many other factors...). Hence it's a serious choice that we have made to pursue this older technology as a platform for our music to flourish & hopefully have the greatest impact on people.

Would like to hear your thoughts,

Thanks again for your time & help,

Rob

[Inyaki]

Can you fellas honestly say anything after at the latest early 80's actually sounds any good? I don't think so & this has a lot to do with the technology (as well as many other factors...).


Rob

Do a search cause this has been discussed a few times before here.
I don't wanna be accused again by the veterans of this forum (the great gurus) of repeating the same topics!
Spend a few hours / days / weeks checking old posts...and you'll find more info than in your local library! Believe me.

[6anbatte]

Not sure if this helps, but this is a predominantly analogue based recording studio in London - **["Toerag Studios"](http://www.toeragstudios.co.uk/introduction.swf)**

Might give you some ideas.

[Dave K]

I'm researching many different recordings from folk to ska & it's becoming clear (to me at least) that the zenith of technology for music recording purposes was around the late 60's, certainly no later than 1980 anyway.

Hi Rob

You'll get varying opinions on that. I haven't heard anything better than a live off-the floor recording. properly balanced by an engineer with good ears.

For good examples of this, check out some of Tom Dowd's early work with Atlantic, or some late 50's - early 60's Blue Note releases. Warm, full, rich sound, but more importantly, excellent musicianship and musical interplay.

Relevant to the "Tom Dowd sound" aspect is that this was the same board that Altantic Records gave Dynamic Sounds, which Kong recorded on. Dynamic's old four track (built by Walter Luntz IIRC, a German) then went over to King Tubby' studio, who used it to create some pretty "dynamic" stuff!.

Can you fellas honestly say anything after at the latest early 80's actually sounds any good?

Yes. Honestly, and absolutely.

I don't think so & this has a lot to do with the technology (as well as many other factors...). Hence it's a serious choice that we have made to pursue this older technology as a platform for our music to flourish & hopefully have the greatest impact on people.

Maybe to those over 50 :^) Kids may wonder why it doesn't sound all tinny and compressed like the mp3s on their iPod.

I am definitely with Inyaki, in believing that the musicianship is far more important than the technology. Take that same Beverley's All-Star band, put them in a shiney new studio, and they are still going to produce great music. Let Primal Scream mix an LP through King Tubby's board (as they did), and it's still going to sound like shite (I realize that opinions may vary on this......).

Good luck with your endevours.

[Inyaki]

Not sure if this helps, but this is a predominantly analogue based recording studio in London - "Toerag Studios"

Might give you some ideas.

The best place in London to get a classic Ska / Rock Steady sound.

[ACEtone]

It ain't what you do it with, it's what you do with what you do it with...
ouch!

[Robert Blythin]

Hi Dave, cheers for the heads up about Tom, I'll look into it later.

"I am definitely with Inyaki, in believing that the musicianship is far more important than the technology. Take that same Beverley's All-Star band, put them in a shiney new studio, and they are still going to produce great music. Let Primal Scream mix an LP through King Tubby's board (as they did), and it's still going to sound like shite (I realize that opinions may vary on this......)."

I'm sure the Beverley's All-Star band would pull out a great performance but aesthetically the recording's still gonna be questionable, to me anyway.

Could you give me some examples of the recent recordings that you reckon are good? I may have to make U-turn with my research if you could point me in the direction of some good modern recordings.

Thanks again (tu),

Rob