| The sound engineers at OEM Inc. have spent thousands of hours with the original masters of the most
famous songs ever recorded. They use them to create products like Jammit, an iPhone app that allows
you to remix and play along with those original tracks. There are many, many things to learn from
those original tracks. Through a partnership with Gearhead Communications, OEM Inc. engineers are
sharing their discoveries exclusively with Premier Guitar readers in what we like to call Secrets of the Masters |
“China Grove” by The Doobie Brothers
From the album The Captain and Me (1973 Warner Bros.)
Produced by: Ted Templeman
Engineered by: Donn Landee
Written by: Tom Johnston
Recorded at: Warner Bros. Recording Studios
in North Hollywood, CA
Available in the JAMMIT “Classic Rock Vol.2” application
One of the many great things about ’70s music
(besides all the artificial stimuli) is that most
bands recorded a new album almost every year.
This was the case for The Doobie Brothers when
they returned to the studio shortly after the
release of their 1972 album, Toulouse Street,
to start production on their third studio album.
After having success with Ted Templeman at
the helm for their first two albums, The Doobies
continued the proven formula for what was to
become their most successful and recognizable
album to date, The Captain and Me. Recorded
in North Hollywood at their record label’s
recording studio, the song “China Grove”
would help propel The Captain and Me to
double platinum sales status and become one
of the band’s most loved singles.
I always love the opportunity to peek into the
recordings of some of my favorite engineers
and producers, and both Ted Templeman and
Donn Landee are near the top of my list when
it comes to albums from the `70s. From Van
Halen to Montrose, the simplicity and focus,
yet size and depth of their productions always
seems to catch my ear. Upon dissecting the
multi-tracks for “China Grove” I wasn’t all that
surprised to see (and hear) everything laid-out
and organized nicely, and immediately sounding familiar with the faders at zero and without
EQ or effects. I spent a few minutes listening
back to the album mix to get myself reacquainted with the overall vibe and sonic imprint
that I’d be trying to match for the Jammit version of the song. After several passes through
the timeless song, I dove in headfirst.
Tracks (in no specific order):
1) Bass Drum
2) Snare Drum
3) Drums
4) Hand Claps
5) Tambourine
6) Bass
7) Guitar Rhythm-Tom
8) Guitar Rhythm Overdub-Tom
9) Guitar Lead
10) Guitar Harmony
11) Piano Lo
12) Piano Hi
13) Lead Vocal
14) BG Vocals
15) BG Vocals Hi Harmony
16) BG Vocals Lo Harmony
At this point in recorded music history, most
bands were still playing together while tracking in the studio as opposed to overdubbing
almost all of the instrumental elements. It
was evident right away that this was the
case, as I could hear some guitar amp sound
leaking into the drum tracks and some drum
tracks leaking into the guitar track. The leakage was very slight, which most likely meant
that the guitar amp was well isolated in
another room or booth.
Drums Just Keep on Lookin’ to the Left
The drum recording appeared to be relatively simple with only three tracks—kick,
snare and a mono drum track that could have
been an overhead or room mic, or a combination of several microphones bounced
down to a single mono track. The drums
sounded great as is and didn’t need much
more than a little high-frequency equalizing.
The one anomaly about the drums was that
they were panned slightly off center. Usually
in rock music, the kick and snare are both
straight up the middle, but this song had the
kick in the center while the snare was slightly
to the left and the drum track even more to
the left. That’s a bit strange, but it sure created a nice pocket on the right side of the
spectrum for the guitars and percussion.
The production on this song was pretty standard for a song of this time period. Aside
from the drums, there were some additional
percussion, tambourine, and handclap overdubs. The bass performance and sound on this
song is top notch. It sounds to me like Tiran
Porter played the melodic line using a pick and
plugged direct into the board. Matching the
sound was a cinch. The vocal tracks were also
quite easy to mix, as they sounded darn good
right off of the tape. A little reverb and slight
EQ was all that was needed to get it sounding
like the original.
Talkin’ ‘Bout Rhythm Groove
Other than the guitar solo and harmony
overdubs, the guitar on this song is relatively straightforward, as well. From what the track-
sheet read, the main rhythm guitar track
was played by “Tom,” which I’m assuming
was Tom Johnston, the band’s lead singer
at the time and the writer of the song. An
additional guitar overdub was added later
to fill out the sound and thicken up the
rhythm section. I spent a significant amount
of time balancing and panning the rhythm
guitars to get them to match the original
album version, but couldn’t quite seem to
nail it. I threw on some headphones to get a
closer inspection of the original and noticed
that the quarter-note delay that is on the
main guitar track in the intro and re-intro is
bypassed once the verse kicks in. This one
subtle change allowed the rhythm guitars to
sit properly in the mix.
I added a bit of reverb to both guitar tracks,
but automated both the reverb level and the
track volume of the cleaner guitar track in the
bridge. Back in the day, this would have been
done manually by whoever in the room could
lend an extra hand to the mixing console. In
1973, fader automation on a recording console
wasn’t a standard feature like it is today, so
any volume, pan, or effects rides would have
to be done in real-time as the mix was being
laid down. This used to be part of the magic
of mixing. It was a performance in and of itself.
Today, one engineer can replay the mix over
and over recording each and every push of
a fader and turn of a knob until it’s just right
before having to commit and print it as the
master mix.
Mix Masters
In the days predating automation, it wasn’t
uncommon to find the engineer, producer,
band members, and sometimes even assistants performing these same moves all in
one pass, like a well-rehearsed orchestra. If
someone didn’t hit their cue, or adjusted the
wrong knob, the whole mix would need to be
done again from the beginning. Everything
from grease pencil marks on knobs to razor
blades taped above the faders (to block it
from moving too far) helped make this cumbersome process a little easier. In many cases,
the relative inaccuracies of this method produced some really magical results.
I have fun mixing just about every song we
release for Jammit, but for some reason this
one made me feel slightly nostalgic, even
though I wasn’t even a glitter in my mother’s
eye at the time it was made. It made me
remember the stories I’ve heard many times
over of how things used to be done when
motorized faders on a console was as far-fetched as a little white box that can hold
10,000+ songs in your pocket. Having these
limitations really put a premium on talent and
ingenuity. Now I’m not going to go as far as
to say that today’s music isn’t as good as it
once was. (I wouldn’t want to sound too much
like an old fogey, would I?) But it definitely
makes me wonder if a lot of these songs that
we call classics today would have been the
same, worse, or better had the musicians,
producers and engineers had all the tools
and freedom from limitations that we seem to
have today. I guess the only way we’d ever be
able to find out is if we could take a nuclear-powered DeLorean back to 1973. Unlikely,
just like the iPod 37 years ago.
To see/hear how you can play along to (with
tab) and make new mixes of “China Grove”
and other songs from the original multi-track
masters, check out
www.jammit.com.
Chris Baseford is a Canadian-born recording engineer/mixer/
producer who has worked
with some of the top names in
the rock music world. Having
spent many years mixing on
large format analog consoles,
Chris has made the transition to mixing “in-the-box”
and continues to push the boundaries of what is possible in the all-digital domain of music production.