Remote recording

[2] Another reason for a remote recording is to capture an artist in a different acoustic space such as a church, ballroom or meeting hall.

Beginning modestly in 1958, recording engineer Wally Heider developed and popularized the use of a remote truck in California in the mid-1960s and throughout the 1970s.

From 1941 Alan Lomax became known for the field recordings he made of the various musical traditions carried to or created in the United States.

For instance, in 1963 Chess Records hauled their monaural tape recorder to Myrtle Beach, South Carolina, to capture the Fourth of July weekend concerts including Bo Diddley's electrifying performance in front of 2,000 excited fans.

He started with stereo, obtained a three-track machine on which he taped a Barbra Streisand concert, then in 1965 he configured the truck as a complete recording studio.

One of them is the classic album Live in Concert by Ray Charles, captured in 1964 at the Shrine Auditorium in Los Angeles.

[8] Heider recorded the Monterey Pop Festival in 1967;[9][10][11] its many musical acts and the increasing importance of high quality sound for a concert film signaled a major shift in scale and importance for the remote truck operator.