Long Gone Sound

by

from http://www.oxfordamerican.org:

For County Records, Chris King has produced scads of compilations of old-time music for a whole new audience. As a restoration engineer, he makes analog-to-digital transfers of 78s that render the nearly century-old recordings accessible to modern ears. His work on Revenant’s seven-CD Charley Patton box set, Screamin’ and Hollerin’ the Blues, earned him a Grammy.

“Chris has the knowledge, he has the ear, he has the equipment and the technique,” says Marshall Wyatt of Old Hat, a North Carolina–based label, who worked with King on a compilation of black fiddlers from the ’20s and ’30s. “But he’s more than a technician, he’s an aficionado, a lover of the music. It’s not just, Bring me a stack of records and I’ll transfer ’em, it’s, Let me help you find the very best copies.”

Even for a fan of the music, this is painstaking work. Many of the most prized blues and country 78s survive only in the most wretched condition, gouged as they are by the steel needles of the old Victrolas. For the Patton project, King transferred over a hundred sides, mostly Paramounts, which are notorious for their inferior pressing and beat-to-hell copies; he managed to salvage crisp, clear transfers from all but the most battered copies.

“There are spots in the groove that, for whatever reason, haven’t been tapped,” says Dean Blackwood of Revenant. “If you view it as a relief map, part of the terrain hasn’t been traveled on and Chris can get to it. He knows where to go in the groove to find music that’s still coded in there, that hasn’t been ground down to nothing.”

The entire operation, which King calls Long Gone Sound, is crammed in a tiny record room: a fancy pre-amplifier and soundboard mixer, a pair of ’50s-era tube amps on milk crates, and some high-end speakers that can rake the wattage King pushes through them. He likes to play these records loud. He has a few dozen styli that he uses to eke out some half-buried fiddle break from a worn shellac groove.

Dropping the needle on an old 78, again and again and again. He calls this meticulous process “cracking the code.” What might seem tedious is for him an intricate communion. “It’s all in the whole ritual. As naive as it sounds, when I play a 78 on my turntable, it makes me feel closer to the music than playing it on a CD. It takes a special breed—there’s only so many weird, whacked-out eccentrics who get a big kick out of that three-minute experience.”

 

 

 

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