Buddy Holly - "Fool's Paradise (Alternate Take 2)."
Almost Paradise - The Definitive History (Documentary Opening- Norman Petty Recording Studios).
More than 20 #1 hits seeped out of the doors at Norman Petty’s 1313 W. 7th Street studio in Clovis, New Mexico, but it was the big, warm and clear sound that defined Petty’s producing and made him a hugely influential figure in the history of recording. The gear in Petty’s Clovis studio was in a continual state of flux. At the time that Buddy Holly was recording there, the main mixer was a tube-powered, 8-channel Altec radio station console with only volume knobs and no EQ.
All of the recordings were in mono. Petty’s first recorder was an Ampex 401, followed by an Ampex 300, both of which recorded mono to 1/4” tape. “He did tune his studio, though,” says Billy Stull. “He had some curved panels placed on the walls for sound treatment, and they tuned each panel to a different frequency to keep those frequencies from resonating. Source: reverb.com
Lance Monthly: What is your take on Norman Petty? Do you believe that he was fair in his business dealings with The String-A-Longs?
Keith McCormack: Norman was not fair to anyone. He could have had even more hits had he been willing to follow the trends a little closer. "Wheels" and "Sugar Shack" were big hits and became classics. Buddy Holly made a lot of his songs huge and the influence that Buddy had over the music world is phenomenal. Norman had an apartment in the back of the studio. He would allow "privileged" people to stay there while they recorded, but you had to hoe weeds and mow the grass. One day Norman asked Buddy and his band to meet him in the back of the studio. This was after "That'll be the Day" and "Oh Boy." He handed Buddy a rake and asked him to rake some weeds. Buddy literally threw it back to him and said, "I've made you enough money, so hire someone else to do it." That was the start of a downward spiral of their relationship. Norman never wanted an artist to be big. I know for a fact he turned down the Perry Como Show and several overseas tours for The String-A-Longs. He would play one artist against another. Source: www.musicdish.com
John Beecher: Yes I do. Norman was a great engineer/producer in his own environment, but out of his depth in the big studios of New York; and the "biz cats" in the big city knew what he was up to, eventually shunning him. For a while Norman was powerful, but with the power came greed and carelessness and that was his undoing. Source: www.musicdish.com