Chet's Home Recording

[Greg Butler]

I've read in album liner notes, etc. that Chet often recorded at home, rather than in a Nashville studio. When he used other musicians, did he have them lay down their tracks in the studio and then take these home to add his part? Did he play along as they recorded their parts and then overdub at home? I'm doing a home recording project and am playing much of the rhythm guitar, bass, keyboard, etc. myself and find it very challenging. I've come to an even greater appreciation for Chet's recording and would like to have more information. Anybody have any further information on this topic? Thanks.

[Norm]

What he did a lot of times was to record in studio b using the on call team using a three track machine particularly if he required bass and piano. He had a similar machine at home and reserved the center track for himself. That way he could change or refine his part at his leisure (and less expensive to RCA) at home.

Sometimes he would use other musicians at home. Paul was a frequent contributor as was Lenny Breau, Jerry Reed, Mark Knophler etc. I don't think his basement studio was conducive to a full band. Not big enough.

Perhaps Richard Hudson will contact you. He does very impressive recordings that he does most of the parts himself.

[Vidar Lund]

Greg, one particilar topic that has been discussed here time and time again is his Chet in Hollywood album. That one was recorded October 23, 1958 and released in 1959. Chet obviously wasn´t totally satisfied with it and took the tape with the orchestal backing home and recorded his guitar solos once again. That performance was later released as well, and has been the topic of discussions of which recording sounds best. I own both versions and it´s really hard to tell, but both sound great.

[John Knowles]

Greg,

Chet was really at home in the studio. On the Nashville Guitar Quartet, we recorded "Brandenburg" with all four of us in Studio A. We recorded "Aranjuez" in Chet's basement. John Pell and I played through our parts while Chet set levels. Once we were ready, Chet started the tape rolling, walked in and joined us. At the end of the take, we all sat still and then Chet got up and walked to the control room to stop the tape. Leona recorded her part later. On "Bound For Boston," Chet recorded me first. By then, Chet had showed me how to set levels and roll the tape so I recorded him and John Pell.

Chet knew his way around the gear in his studio like he knew his way around the guitar and he knew how to put the musicians he was working with at ease. Greg, I can understand how you feel challenged to do it all. I've recorded myself like Chet showed me but I still feel much more at ease having another pair of hands and ears in the control room. Good luck with your project.

John

[Eddie Estes]

I am trying to record something of mine mostly for my kids but if anyone'
else wanted it I would sell it for a few dollars.

It is easier for me with Garageband or a computer so I can see the tracks and where they lay in time.
I wish I had the gear and a tutor to do it on tape!

[Norm]

Eddie, I may be wrong but I don't think you'd have the control on tape that you do with the current computer programs.
Chet and tape recording sort of grew up together and he was a master at using a razor blade to edit.

I think what you're wishing for is the ambiance they used to get when all the musicians showed up in the same room on the same day and, as Chet used to say, "make a song sound interesting for three minutes).

Some recording artists are going back to that style of recording specifically to recapture that feel.

Add to that, the big studios have pretty incredible mics and consoles that are hard to beat using a laptop or home PC.,

It's good that one is never happy with their recordings. It makes them reach a little higher next time.

[Eddie Estes]

True.

[Norm]

DO keep on keeping on though...

[Greg Butler]

Thanks, guys. You've provided some information & insight I was looking for...just another reason I like the Chetboard!