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Here's a good interview that someone posted on BTX recently:

 

And this podcast covers much of the same ground but is interesting nonetheless (Bruce content starts at 49 minute mark):

http://pantheonpodcasts.com/deeper-digs/2019/9/24/deeper-digs-in-rock-toby-scott-on-engineering-for-the-boss?rq=toby scott

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Fascinating stuff.  Thanks for sharing. :)

I've often thought of Toby as one of the nice guys and I think this interview confirms it. I don't understand the technical stuff but no doubt their target audience does.

As Toby is / was custodian of the Springsteen archive I was hoping they might have touched on that, but a great half hour nonetheless.

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4 hours ago, Promise61 said:

Fascinating stuff.  Thanks for sharing. :)

I've often thought of Toby as one of the nice guys and I think this interview confirms it. I don't understand the technical stuff but no doubt their target audience does.

As Toby is / was custodian of the Springsteen archive I was hoping they might have touched on that, but a great half hour nonetheless.

Your so right 

Didn't  he just come across as just a really nice guy

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I had a Q&A e-mail exchange with Toby Scott a while back and here are some excerpts:

 

*How many full shows were recorded during the RIVER Tour?

I don’t know the exact number, I remember recording Phoenix in Nov, then some city in upper NE, then Nassau over New Year, later opening Meadowlands Arena (Brendan Byrne).  Beyond that I don’t remember, probably a couple in LA at Sports Arena.

*I can speak for the legion of die-hards who desperately want to know if the 8/20/81 Vietnam Vets Benefit was professionally recorded?

It was not.

*How much recording was done during the BORN IN THE U.S.A. Tour?  I'm specifically wondering if any shows were captured in late '84 and/or early '85?

I don’t remember, not enough as far as I recall as when I was reviewing requests for the Archive Concert releases, there was a lack of material from his biggest tour.

*Based on audience recordings Max switched to a triggered drum sound for the BORN IN THE U.S.A. Tour sometime in late 1984.  In an interview with DRUMS magazine in 1988 Max said the decision was made based on "wanting to get a more consistent sound".  Was this move considered before the Tour started and how much work had to be done to make this happen?  Was there hesitation on anyone's part to go to this sampling/trigger sound?

This was at the request or suggestion of Bruce Jackson the FOH mixer.  He was an electronic genius and wanted to implement some state of the art technology into the sound of the drums. It was conceived on the road and implemented then.

*In an interview with Backstreets magazine, guitarist Shane Fontayne mentioned a project called Waiting On the End of the World.  He said the album was cut in 1994 with the core of the 92/93 touring band and that it was completed, and ready for release.  He said that "at the last minute" it was called off, specifically by Landau.  Does any of this ring a bell?

It rings a bell and Shayne doesn’t know everything.  #1, the alternate band did not play on these recordings.  #2. It was a great record, amazing.  Primarily all Bruce.

*Has any work been done, for another TRACKS or other projects, on Bruce's solo/garage demos in preparation for release (like "County Fair" was for the ESSENTIAL set)? I'm thinking specifically of "Sugarland", "Follow That Dream", "Unsatisfied Heart", "Don't Back Down" and the like?  These are uniquely powerful and I wonder if Bruce values them as such, or simply sees them as just another batch of music he decided not to put out?

When requested, Bruce will go through his catalog and pick out songs to release for some purpose (generally thought of by the record company to generate $).  Work on old tracks varies from extensive to none.  It depends on the state of the recording of that song.

*I've been curious about this since 2015: do you know why "Bring On the Night" wasn't included in the 2015 box?  Was it a matter of using "Mr. Outside" instead of "Bring On the Night"?

I have no idea, I think it was happenstance.  I found “Mr. Outside” and Bruce thought it was unique. I did some editing and fixing and it became something he decided to include.  I don’t know why.

*I realize you've seen a ton of Springsteen shows, do you have a favorite?

I don’t evaluate the performances in the course of my work. It’s not my job.  Shows that come to mind are: 1988 Broadcast to the World from Stockholm.  A stadium show in Wash DC, on USA Tour where I could see the outfield bleachers moving.  LA Coliseum, right before show start I walked out on stage and stood at Bruce’s mic pretending to do something looking out at 88,000 people.

*Your personal favorite album?

TUNNEL OF LOVE – it was entirely Bruce and I (except for when the band was brought in one by one to try and replace Bruces part performances with their own).  We worked together to create the sounds.  He had asked me before starting if I could work a synth keyboard, and I had a decent knowledge so I would prep the keyboard (eventually a Kurzweil 250) and guide him to the sound type he requested.  When done with all the recording and Landau thought it was great. It was very cool to think that it would become an album as is.  I had played the drum machine that remained the drum track for several songs, including "Tunnel of Love" (failed to give myself, or ask for, credit though).  Bruce liked it as his favorite at the time because of the freedom he had in developing the songs as he wanted. I also thought it was a great sounding record and disappointed that the record company released it 3 days after the cutoff for Grammy eligibility for that year.

 

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44 minutes ago, estband said:

I had a Q&A e-mail exchange with Toby Scott a while back and here are some excerpts:

 

*How many full shows were recorded during the RIVER Tour?

I don’t know the exact number, I remember recording Phoenix in Nov, then some city in upper NE, then Nassau over New Year, later opening Meadowlands Arena (Brendan Byrne).  Beyond that I don’t remember, probably a couple in LA at Sports Arena.

*I can speak for the legion of die-hards who desperately want to know if the 8/20/81 Vietnam Vets Benefit was professionally recorded?

It was not.

*How much recording was done during the BORN IN THE U.S.A. Tour?  I'm specifically wondering if any shows were captured in late '84 and/or early '85?

I don’t remember, not enough as far as I recall as when I was reviewing requests for the Archive Concert releases, there was a lack of material from his biggest tour.

*Based on audience recordings Max switched to a triggered drum sound for the BORN IN THE U.S.A. Tour sometime in late 1984.  In an interview with DRUMS magazine in 1988 Max said the decision was made based on "wanting to get a more consistent sound".  Was this move considered before the Tour started and how much work had to be done to make this happen?  Was there hesitation on anyone's part to go to this sampling/trigger sound?

This was at the request or suggestion of Bruce Jackson the FOH mixer.  He was an electronic genius and wanted to implement some state of the art technology into the sound of the drums. It was conceived on the road and implemented then.

*In an interview with Backstreets magazine, guitarist Shane Fontayne mentioned a project called Waiting On the End of the World.  He said the album was cut in 1994 with the core of the 92/93 touring band and that it was completed, and ready for release.  He said that "at the last minute" it was called off, specifically by Landau.  Does any of this ring a bell?

It rings a bell and Shayne doesn’t know everything.  #1, the alternate band did not play on these recordings.  #2. It was a great record, amazing.  Primarily all Bruce.

*Has any work been done, for another TRACKS or other projects, on Bruce's solo/garage demos in preparation for release (like "County Fair" was for the ESSENTIAL set)? I'm thinking specifically of "Sugarland", "Follow That Dream", "Unsatisfied Heart", "Don't Back Down" and the like?  These are uniquely powerful and I wonder if Bruce values them as such, or simply sees them as just another batch of music he decided not to put out?

When requested, Bruce will go through his catalog and pick out songs to release for some purpose (generally thought of by the record company to generate $).  Work on old tracks varies from extensive to none.  It depends on the state of the recording of that song.

*I've been curious about this since 2015: do you know why "Bring On the Night" wasn't included in the 2015 box?  Was it a matter of using "Mr. Outside" instead of "Bring On the Night"?

I have no idea, I think it was happenstance.  I found “Mr. Outside” and Bruce thought it was unique. I did some editing and fixing and it became something he decided to include.  I don’t know why.

*I realize you've seen a ton of Springsteen shows, do you have a favorite?

I don’t evaluate the performances in the course of my work. It’s not my job.  Shows that come to mind are: 1988 Broadcast to the World from Stockholm.  A stadium show in Wash DC, on USA Tour where I could see the outfield bleachers moving.  LA Coliseum, right before show start I walked out on stage and stood at Bruce’s mic pretending to do something looking out at 88,000 people.

*Your personal favorite album?

TUNNEL OF LOVE – it was entirely Bruce and I (except for when the band was brought in one by one to try and replace Bruces part performances with their own).  We worked together to create the sounds.  He had asked me before starting if I could work a synth keyboard, and I had a decent knowledge so I would prep the keyboard (eventually a Kurzweil 250) and guide him to the sound type he requested.  When done with all the recording and Landau thought it was great. It was very cool to think that it would become an album as is.  I had played the drum machine that remained the drum track for several songs, including "Tunnel of Love" (failed to give myself, or ask for, credit though).  Bruce liked it as his favorite at the time because of the freedom he had in developing the songs as he wanted. I also thought it was a great sounding record and disappointed that the record company released it 3 days after the cutoff for Grammy eligibility for that year.

 

There is some gold in there ! 

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4 hours ago, estband said:

I had a Q&A e-mail exchange with Toby Scott a while back and here are some excerpts:

 

*How many full shows were recorded during the RIVER Tour?

I don’t know the exact number, I remember recording Phoenix in Nov, then some city in upper NE, then Nassau over New Year, later opening Meadowlands Arena (Brendan Byrne).  Beyond that I don’t remember, probably a couple in LA at Sports Arena.

*I can speak for the legion of die-hards who desperately want to know if the 8/20/81 Vietnam Vets Benefit was professionally recorded?

It was not.

*How much recording was done during the BORN IN THE U.S.A. Tour?  I'm specifically wondering if any shows were captured in late '84 and/or early '85?

I don’t remember, not enough as far as I recall as when I was reviewing requests for the Archive Concert releases, there was a lack of material from his biggest tour.

*Based on audience recordings Max switched to a triggered drum sound for the BORN IN THE U.S.A. Tour sometime in late 1984.  In an interview with DRUMS magazine in 1988 Max said the decision was made based on "wanting to get a more consistent sound".  Was this move considered before the Tour started and how much work had to be done to make this happen?  Was there hesitation on anyone's part to go to this sampling/trigger sound?

This was at the request or suggestion of Bruce Jackson the FOH mixer.  He was an electronic genius and wanted to implement some state of the art technology into the sound of the drums. It was conceived on the road and implemented then.

*In an interview with Backstreets magazine, guitarist Shane Fontayne mentioned a project called Waiting On the End of the World.  He said the album was cut in 1994 with the core of the 92/93 touring band and that it was completed, and ready for release.  He said that "at the last minute" it was called off, specifically by Landau.  Does any of this ring a bell?

It rings a bell and Shayne doesn’t know everything.  #1, the alternate band did not play on these recordings.  #2. It was a great record, amazing.  Primarily all Bruce.

*Has any work been done, for another TRACKS or other projects, on Bruce's solo/garage demos in preparation for release (like "County Fair" was for the ESSENTIAL set)? I'm thinking specifically of "Sugarland", "Follow That Dream", "Unsatisfied Heart", "Don't Back Down" and the like?  These are uniquely powerful and I wonder if Bruce values them as such, or simply sees them as just another batch of music he decided not to put out?

When requested, Bruce will go through his catalog and pick out songs to release for some purpose (generally thought of by the record company to generate $).  Work on old tracks varies from extensive to none.  It depends on the state of the recording of that song.

*I've been curious about this since 2015: do you know why "Bring On the Night" wasn't included in the 2015 box?  Was it a matter of using "Mr. Outside" instead of "Bring On the Night"?

I have no idea, I think it was happenstance.  I found “Mr. Outside” and Bruce thought it was unique. I did some editing and fixing and it became something he decided to include.  I don’t know why.

*I realize you've seen a ton of Springsteen shows, do you have a favorite?

I don’t evaluate the performances in the course of my work. It’s not my job.  Shows that come to mind are: 1988 Broadcast to the World from Stockholm.  A stadium show in Wash DC, on USA Tour where I could see the outfield bleachers moving.  LA Coliseum, right before show start I walked out on stage and stood at Bruce’s mic pretending to do something looking out at 88,000 people.

*Your personal favorite album?

TUNNEL OF LOVE – it was entirely Bruce and I (except for when the band was brought in one by one to try and replace Bruces part performances with their own).  We worked together to create the sounds.  He had asked me before starting if I could work a synth keyboard, and I had a decent knowledge so I would prep the keyboard (eventually a Kurzweil 250) and guide him to the sound type he requested.  When done with all the recording and Landau thought it was great. It was very cool to think that it would become an album as is.  I had played the drum machine that remained the drum track for several songs, including "Tunnel of Love" (failed to give myself, or ask for, credit though).  Bruce liked it as his favorite at the time because of the freedom he had in developing the songs as he wanted. I also thought it was a great sounding record and disappointed that the record company released it 3 days after the cutoff for Grammy eligibility for that year.

 

Brilliant stuff. Thank you v m.

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I would like to shake that man’s hand, vigorously. If it weren’t for his hard work and thinking outside the box, Nebraska wouldn’t have been the album it is. Thanks for that @estband, quite informative. I especially loved his appreciation for Tunnel of Love and he’s right, it’s great sounding album, just one part of its unique beauty.

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On 9/30/2020 at 11:38 PM, Beautiful Loser said:

I would like to shake that man’s hand, vigorously. If it weren’t for his hard work and thinking outside the box, Nebraska wouldn’t have been the album it is. Thanks for that @estband, quite informative. I especially loved his appreciation for Tunnel of Love and he’s right, it’s great sounding album, just one part of its unique beauty.

According to Dave Springsteen Marsh, it was Chuck Plotkin who pulled it all together for Nebraska.

:blink:

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https://tascam.com/us/support/news/481

It seems Scott was tasked with getting a master off Bruce’s tape. Nowhere in that part of the article does Plotkin’s name pop up. I should have also given thanks to Steve King and Bob Ludwig as well. Perhaps Chuck oversaw the whole thing as well. If so, thanks to him too. 

 

:wacko:

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2 hours ago, Beautiful Loser said:

https://tascam.com/us/support/news/481

It seems Scott was tasked with getting a master off Bruce’s tape. Nowhere in that part of the article does Plotkin’s name pop up. I should have also given thanks to Steve King and Bob Ludwig as well. Perhaps Chuck oversaw the whole thing as well. If so, thanks to him too. 

 

:wacko:

Interesting. Marsh devotes three pages in Glory Days to Plotkin's solving of the Nebraska tape issues, and doesn't mention Toby once. Not once, I say.

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I have a book somewhere about the making of Nebraska- i remenber it being fasinating but im scratchy on the details ....i wonder if i voukd find it

From memory the author was able to interview all the major and minor players just not Bruce 

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