New York, NY (November 30, 2006)–The Rolling Stones played two historic shows at the intimate Beacon Theater in New York City October 29 and November 1 for celebrity-laden audiences. Former president Bill Clinton and a huge contingent of his guests were on hand to celebrate his 60th birthday at the Oct. 29 performance, while Martin Scorsese and crew filmed both nights for an upcoming documentary on the band. Remote Recording was on hand to record these concerts, as they have done for the Stones many times before.
Remote Recording was on hand at New York’s Beacon Theatre for the Rolling Stones’ Oct. 29 and Nov. 1 concerts, filmed by director Martin Scorsese for an upcoming documentary. Pictured in Remote Recording’s Silver Studio are (l-r) owner/manager Karen Brinton, legendary engineer/producer Bob Clearmountain, and Remote Recording’s Phil Gitomer.The Rolling Stones have called on Remote Recording for more than half their storied career, for concert recordings in North American and around the world. These recordings have yielded their Still Life album as well as the feature film Let’s Spend the Night Together.
Elite engineer/producer Bob Clearmountain, who mixed the Stones’ Tattoo You, Still Life and Stripped albums, as well as individual tracks from their catalog, was at the helm in Remote Recording’s Neve VR-equipped Silver Studio to record the latest performances on the band’s A Bigger Bang tour, as well as the many afternoon and evening rehearsals in the preceding days.
Clearmountain estimated that he has recorded and mixed over 30 Rolling Stones concerts since his first in 1981–the Still Life/Let’s Spend the Night Together concerts that also heralded Remote Recording’s long association with the band. “This is the second Stones movie that David [Hewitt, Remote Recording founder] and I have done together,” he noted. The two have also worked on several Rolling Stones pay-per-view broadcasts.
In addition to the Silver Studio’s Digidesign Pro Tools|HD rig and full complement of outboard gear, Clearmountain employed an Apogee Electronics Mini-Pre microphone preamplifier for Mick Jagger’s vocals as well as snare and bass drum, he confided.
44 years into the band’s existence and dozens of concert recordings later, Clearmountain said of the show, “This one is even more intense, because there’s a lot more going on. It’s a much bigger production than Let’s Spend the Night Together was, with a lot more cameras. Plus, the Beacon is a tiny venue.
“It really is exciting,” he continued, seated at the Silver Studio’s Neve VR during a break in rehearsals. “It’s all gone very well, and luckily this recording facility and these guys [the Remote Recording engineers and staff] make it really simple.”
“There’s a different intensity to a small theater show,” Hewitt added. “They’re right up there in your face. It’s great, and I’m looking forward to it.”
“I was a big fan of The Last Waltz and of the Band,” Clearmountain summarized, “and just watched it recently. If this comes out half as great as that film, it will be really special.”
“Working with the Rolling Stones is always exciting, but having the opportunity to work with them in such an intimate environment at the Beacon made it even more amazing,” commented Karen Brinton, Remote Recording owner/manager. “Throw Martin Scorcese on top of that, and you’ve really got something special. Having Bob Clearmountain on the truck was fantastic as always, and I’m grateful for the experience.”
Remote Recording’s Silver Studio is a world-class mobile studio on 18 wheels with a client list that reads like a who’s who of the music business. In 2005, Remote Recording unveiled the Polar Express, a digital recording truck featuring two Yamaha DM 2000 consoles, 128 tracks of Steinberg Nuendo and 96 tracks of Tools|HD.