Draft:Weezer Recording Chronology: 1992: Difference between revisions

Draft:Weezer Recording Chronology: 1992 (view source)

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→‎September-December 1992: Moved Real demo

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 {{Karlification box|...another "bootleg" by karl|[https://web.archive.org/web/20140519063254if_/http://daveandnikolai.com/wzr/classic/03_Recording_History/WeezRecHist4.html Weezer Recording History, Page 4]}}
-=== "The Real Demo", November 1992 ===
-[[Image:Super-Chrono-19921105.jpg|Cassette tapes|thumb|150px|right]]
-Weezer recorded their third demo (often referred to as the ''Real Demo'') throughout two days in November [[1992]], suspected to be [[November 4]] and [[November 5]]. It was recorded at a studio (actually a converted garage) by [[Jon Pikus]], friend of the band and drummer of [[El Magnifico]], without the owner's knowledge. As of the time of recording, Pikus was still a learning engineer, and the demo was, according to [[Karl Koch]], "flawed by sonic strangeness, such as a snare drum that sounded like a tennis ball hitting a racket at Wimbledon". Nonetheless, it was still the best representation of the band yet.
-{{Quote|i actually was paid for my services, in the form of a pair of stereo speakers (the kind you buy from a dude in a van for like $100, who lures you in by asking if you want to buy some "studio monitors"). the studio's usual monitor speakers had gone missing and we needed to mix, so one of the guys in the band brought these giant speakers in, we mixed on them, and then in lieu of payment (which i think we all estimated at around $200, but no one had any cash) they left me the speakers as my compensation. then i blew them up shortly thereafter on another session.
-matt and i mixed it late night 'cause the others had gone home, until 4 am, heavily referencing the surfer rosa CD which was the only album we had there, the cracking snare sound was an impulsive late night decision that just seemed to lend itself to the recording (in retrospect does it crack a little too much? well, sure)
-the intro of undone had some talking from bandmembers of Wax, joe sib & soda i think, in addition to the vinyl snippets we mixed in...
-...i had my mastering guy Alan Yoshida at A&M; master it for me for free as a favor. there was also a short bonus track of rivers playing beethoven's 9th symphony for like 30 seconds that got left off. i thought that say it aint so was the real gem of the session, and i kept it on my production reel for a few years to follow..|[[Jon Pikus]]|[https://web.archive.org/web/20140519063254if_/http://daveandnikolai.com/wzr/classic/03_Recording_History/WeezRecHist4.html Weezer Recording History, Page 4]}}
-By this point, the band had gone on an aggressive campaign to get signed to a record label, making several copies of the tape and sending them to record label offices and personnel, lawyers, and producers. There were 3 different sets of the demo. The first, a set of around 75 cassettes, had a blue label, the second, a set of around 100 cassettes, had a green label, and the third, another set of around 100 cassettes, had a yellow label. There was no J-card.
-The original tape contained 4 songs, although some contained 5. The band recorded a version of "Surf Wax America", but they deemed it not quality enough to put on the main demo, so they put it on the flipside of the tape of only about 15 copies for friends, unlabelled. ''The Real Demo'''s version of "Undone - The Sweater Song" contains Koch's first ever contribution to a Weezer recording: a sequence of samples from several sources for the song's intro. It samples audio from several vinyl records, including movie dialogue and Firesign Theatre albums.
-{{Known recordings header}}
-{{Known recordings entry|aaffaa|[[Weezer]]|[[No One Else]]||[[November 4]](?)-[[November 5]](?), [[1992]]||3:10|''[[Weezer's third demo]]''|}}
-{{Known recordings entry|aaffaa|[[Weezer]]|[[The World Has Turned and Left Me Here]]||[[November 4]](?)-[[November 5]](?), [[1992]]||4:30|''[[Weezer's third demo]]''|}}
-{{Known recordings entry|aaffaa|[[Weezer]]|[[Say It Ain't So]]||[[November 4]](?)-[[November 5]](?), [[1992]]||4:10|''[[Weezer's third demo]]''|}}
-{{Known recordings entry|aaffaa|[[Weezer]]|[[Undone - The Sweater Song]]||[[November 4]](?)-[[November 5]](?), [[1992]]||5:34|''[[Weezer's third demo]]''|Includes "Ode to Joy" coda}}
-{{Known recordings entry|aaffaa|[[Weezer]]|[[Surf Wax America]]||[[November 4]](?)-[[November 5]](?), [[1992]]||3:12|''[[Weezer's third demo]]''|Only on the B-side of a handful of copies}}
-{{Known recordings footer}}
 {{Karlification box|This demo was recorded at a weird little 16 track studio in Hollywood. It was actually a converted garage at some dude's house. Weezer's aquaintence John Pikus (of El Magnifico and later the Campfire Girls) was the engineer. They banged it out over the course of 2 days. They could have worked faster but the studio was being "borrowed" with out the knowledge of its owner, who was only absent at certain times.
@@ Line 681: / Line 657: @@
 {{Known recordings entry|ffaaaa|[[Weezer]]|[[My Name Is Jonas]]||[[November 7]], [[1992]]|5092 Club, Huntington Beach, CA|||}}
 {{Known recordings entry|ffaaaa|[[Weezer]]|[[Only in Dreams]]||[[November 7]], [[1992]]|5092 Club, Huntington Beach, CA|||Cut off after tape runs out}}
+{{Known recordings footer}}
+=== "The Real Demo",  November 14—November 15(?), 1992 ===
+[[Image:Super-Chrono-19921105.jpg|Cassette tapes|thumb|150px|right]]
+Weezer recorded their third demo (often referred to as the ''Real Demo'') on at least [[November 14]], [[1992]], though it's likely they finished recording on [[November 15]].<ref>[[Karl Koch]] [Karlophone]. (November 11, 2024). Message sent to the [[Weezerpedia Discord Server]] channel #karlification. Transcribed at [[Weezerpedia Discord Q&A with Karl Koch - November 2024]].</ref> It was recorded at a studio (actually a converted garage) by [[Jon Pikus]], friend of the band and drummer of [[El Magnifico]], without the owner's knowledge. As of the time of recording, Pikus was still a learning engineer, and the demo was, according to [[Karl Koch]], "flawed by sonic strangeness, such as a snare drum that sounded like a tennis ball hitting a racket at Wimbledon". Nonetheless, it was still the best representation of the band yet.
+{{Quote|i actually was paid for my services, in the form of a pair of stereo speakers (the kind you buy from a dude in a van for like $100, who lures you in by asking if you want to buy some "studio monitors"). the studio's usual monitor speakers had gone missing and we needed to mix, so one of the guys in the band brought these giant speakers in, we mixed on them, and then in lieu of payment (which i think we all estimated at around $200, but no one had any cash) they left me the speakers as my compensation. then i blew them up shortly thereafter on another session.
+matt and i mixed it late night 'cause the others had gone home, until 4 am, heavily referencing the surfer rosa CD which was the only album we had there, the cracking snare sound was an impulsive late night decision that just seemed to lend itself to the recording (in retrospect does it crack a little too much? well, sure)
+the intro of undone had some talking from bandmembers of Wax, joe sib & soda i think, in addition to the vinyl snippets we mixed in...
+...i had my mastering guy Alan Yoshida at A&M; master it for me for free as a favor. there was also a short bonus track of rivers playing beethoven's 9th symphony for like 30 seconds that got left off. i thought that say it aint so was the real gem of the session, and i kept it on my production reel for a few years to follow..|[[Jon Pikus]]|[https://web.archive.org/web/20140519063254if_/http://daveandnikolai.com/wzr/classic/03_Recording_History/WeezRecHist4.html Weezer Recording History, Page 4]}}
+By this point, the band had gone on an aggressive campaign to get signed to a record label, making several copies of the tape and sending them to record label offices and personnel, lawyers, and producers. There were 3 different sets of the demo. The first, a set of around 75 cassettes, had a blue label, the second, a set of around 100 cassettes, had a green label, and the third, another set of around 100 cassettes, had a yellow label. There was no J-card.
+The original tape contained 4 songs, although some contained 5. The band recorded a version of "Surf Wax America", but they deemed it not quality enough to put on the main demo, so they put it on the flipside of the tape of only about 15 copies for friends, unlabelled. ''The Real Demo'''s version of "Undone - The Sweater Song" contains Koch's first ever contribution to a Weezer recording: a sequence of samples from several sources for the song's intro. It samples audio from several vinyl records, including movie dialogue and Firesign Theatre albums.
+{{Known recordings header}}
+{{Known recordings entry|aaffaa|[[Weezer]]|[[No One Else]]||[[November 14]]–[[November 15]](?), [[1992]]||3:10|''[[Weezer's third demo]]''|}}
+{{Known recordings entry|aaffaa|[[Weezer]]|[[The World Has Turned and Left Me Here]]||[[November 14]]–[[November 15]](?), [[1992]]||4:30|''[[Weezer's third demo]]''|}}
+{{Known recordings entry|aaffaa|[[Weezer]]|[[Say It Ain't So]]||[[November 14]]–[[November 15]](?), [[1992]]||4:10|''[[Weezer's third demo]]''|}}
+{{Known recordings entry|aaffaa|[[Weezer]]|[[Undone - The Sweater Song]]||[[November 14]]–[[November 15]](?), [[1992]]||5:34|''[[Weezer's third demo]]''|Includes "Ode to Joy" coda}}
+{{Known recordings entry|aaffaa|[[Weezer]]|[[Surf Wax America]]||[[November 14]]–[[November 15]](?), [[1992]]||3:12|''[[Weezer's third demo]]''|Only on the B-side of a handful of copies}}
 {{Known recordings footer}}