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Ed Stasium talks about how they got the sound for the Ramones album Leave Home

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Ed Stasium talks to Rhino Podcast about the studio they recorded Leave Home in and how they arranged the gear.
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Did you guys approach the recording of Rocket to Russia differently than the previous album Ramones leave home? Well, yes. Yeah, absolutely. You know, Ramones, leave home. I had been living in Canada. I've been working at the Studio Morin Heights in the Laurentian Mountains, 45 miles above Montreal. We approached it when we did leave home. We did it in a really tiny little studio. We did it in a place called Sun Dragon. And it was a little 16 track. Literally. The controlling was smaller than my room. You know, extra bedroom that I use is a control room. The recording room itself was all carpeted and dead while I was working at the studio Morin Heights. I had the privilege to work with Roy Thomas Baker right after he had worked with when when queen came out with the night at the opera and Bohemian Rhapsody took over and I did a record with him with a band named Pilot. Eso Roy came up Thio Studio Morin Heights. It was a residential studio out in the woods and the wiles of, you know, Quebec. We had a drum booth there and myself and my fellow engineer up there, Nick Begona. We always set the drums in the drum booth. And to that point, uh, in my when I started from 72 until I started this Ramones record in 76. Well, I always put drums in the drum booth and didn't everything up and put padding on the drums and, you know, everything is close miked. And when Nick and I set up the drums for a pilot session, we put the drums in the drum booth, and Roy Baker came in the next day. Oh, what are you doing with the drums in that little room over there? You need to put him out here and get some of that lovely room sound. So this changed my philosophy recording, and I was able to put that into effect. With that, I wasn't able to put it into effect with Leave Home. But when we did rocket to Russia, we did it at Media Sound, which was a was located in Manhattan, 3 11 West 57th Street, and it used to be the Manhattan Baptist Church. It was actually ah, huge, almost cathedral like room. As soon as I knew we were doing it there. I was so excited because I hadn't been able to use the philosophy of using those room mix in a large room at Sun Dragon. There was no room for There's literally no space to even have room microphones. So the first thing we did was set up the band in media sound and basically in a live situation. We had everybody. I think we have DDS cabinets back, bathroom hall in there, but it's still like blood into the main room. And Johnny was in the main room with some baffles around his amps. But the band was basically live in the studio. I can only say, you know, I just had that vision, So we used to probably to you 80 sevens in the room and put him up there really pretty, very high. And it just got the Ramones. There was no editing. We did it, you know, one or two takes maybe more There. There might have been minimal editing on a couple songs, but the band always play live. No click track going right to tape. It was it just sounded great. And when I got the multi tracks back to work on the box set. We wanted to come up with something special that the fans would enjoy. And when I brought those multi tracks up in her those room mix, which I didn't use to the full extent in the actual original mixes, those things sounded amazing. They're just the band is roaring through the room, so I actually based this tracking mix around the room mix. And it's there. No guitar overdubs, just the band Johnny, Joey and Tommy just roaring and there were there were a peak performance at that.
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