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Post by cicadashell on Apr 28, 2016 16:41:22 GMT
valuable insights as always, mr. truzzi. i do feel compelled to add, as someone who works mostly in the modern jazz idiom, that the details of recording as presented here apply to a relatively narrow band of musical endeavor. there is a great deal of music out there that is essentially performance-based, rather than recording-based; that is, it's conceived as being played by musicians, and presumably listened to by others, in some defined space, while it is happening, with ll the implicit resonances and interferences. whereas recording-based music relies on the many idiosyncrasies of sound recording to achieve its artistic goals, without much regard to whether it could be performed, and often with the intent of tightly controlling, if not eliminating altogether, said resonances and interferences. don't get me wrong, i think these two approaches are completely compatible, and i'm not interested in arguing in favor of one or the other. notably, it is an appreciation for the latter that has brought us together here, as messrs. partridge and moulding have clearly demonstrated their expertise in creating wonderful sound recordings. these remarks are intended as a preface to whatever i might divulge about my own experiences in making music, which lately at least has had little to do with recording (although i have paid those dues).
so peggs, really this is a long way of answering your question "how do you folks go about recording your music?": i mainly don't, or rather recording is the least of my concerns; i've got to get my chops together. i practice and write and play, not in that order and insufficiently all three. the last recording i did was in a studio, in a terrific-sounding room. home recording is possible but would require the right room, which most people don't have just lying around. home recording with digital equipment serves that other approach very well, but doesn't really have the same kind of advantages for live performances. working track-by-track you can get each bit just right, taking as much time as you need. but for jazz (to take just one genre by example), what has to happen is the musicians have to make the music and the recording process has to be essentially invisible. that's a lot more probable in a studio with an engineer who knows how to set everything up and then get right back into the control room. i have been in situations where someone wants to put a mic on each horn in a big band and then punch in and out to fix mistakes, and let me tell you that shit ends up sounding awful. sometimes two microphones is all you need to capture "stereophonic" sound, provided the room isn't also chock full of random noises.
anyway, stop me before i go further. hope this helps.
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Post by Jeff Truzzi on Apr 28, 2016 17:04:41 GMT
Edifying indeed Mr. C. Indeed, the individual approach I was detailed is largely for pop and rock recordings, where things are recorded to a click track and a grid, and instruments are recorded and manipulated individually. The genres that is NOT done with are classical and jazz recordings. No clicks, no grids. All live in legit studios. The only recording 'tricks' there are adding a little reverb, and editing between takes - a little in jazz, a LOT in classical, like every 4 bars. Never punching in. I can't recall a jazz or classical recording done one instrumental a time, certainly not a good one. But I've had great success editing in single chords from alternate big band takes seamlessly. I was also a really good analog tape editor, even 2" 24 track tape, using a grease pencil and razor blade. And since the 80s, I have never missed doing it once.
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Post by donavan on Apr 28, 2016 17:14:34 GMT
Did you get all that, peggs?
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Post by peggs on Apr 29, 2016 0:21:52 GMT
Yeh, I got it all donavan, and it's great stuff. I really do appreciate your answers and explanations, Jeff and cicadashell. This art form that we honor, emulate and revere is at once casual and complex and I'm glad to know a little bit about how the magic happens (or doesn't). If anyone has more they'd like to say on the subject - sticksman1 hasn't checked in yet - I for one am all ears/eyes. --------------- miles, I didn't know that the Daily Show theme song was a Bob Mould tune. Good for him! Jeff, back in my radio DJ days I too was a really good analog tape editor. I thoroughly enjoyed sitting in the editing bay with razor blade in hand. I made some wicked song edits, if I do say so myself.
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Post by peggs on Apr 29, 2016 0:39:10 GMT
This is just an observation from a listener's point of view. Cidadshell talked about the difficulty, or even the impossibility, of recording jazz music in the same manner as pop or rock. As a fan of the Modern Jazz Quartet, I am just over the moon when listening to the few live recordings that exist for this group. However, whenever I put on one of their studio albums I am saddened by the amount of added instruments and effects that populate individual tracks. It's as if the producers didn't believe the band could make great music on their own so added 'clutter' to make it more commercial.
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Post by donavan on May 1, 2016 10:02:56 GMT
I think some XTC production is a bit 'cluttered.' Or maybe the players I used weren't up to it. I much prefer to hear a clean sound.
I'm off music at the moment. I need regular breaks to keep things fresh. How about you?
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Post by Introvertigroo on May 13, 2016 2:48:45 GMT
I'm just the opposite, Don. I can't more than a couple of days without listening to music, or reading, or both, without getting antsy. Now people, on the other hand, I could do without for weeks, months, years, even eons, and not feel anything other than contentment. Back to listening to Nada Surf and reading the lyrics page.
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Post by peggs on May 14, 2016 1:11:35 GMT
I too go through stretches where I don't actively listen to music or read. Like you, donavan, if I leave it be for a while I find I look forward to finding new artists or authors, or re-discovering past favorites. At present, I'm in a winding down phase; I'm having trouble staying interested in a new adventure novel and have only listened to a few records in the past couple of weeks. I have, however, increased my singing along to the Oldies radio station at work (today they played some excellent disco songs. )
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Post by donavan on May 20, 2016 5:44:35 GMT
Do you still dance, even if it's on your own in the dark? Which can be quite dangerous actually.
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Post by peggs on May 20, 2016 23:17:48 GMT
I don't know why, but your question made me smile. I needed that today so, thanks donavan. Ya, I do dance; mostly at home with headphones on and not as nimbly as I used to (arthritis is a bitch) and I crank up the R&B and Disco songs. When I do go out dancing, which is rare these days, it's folk or contra dancing. Back in my wild and crazy youth I was known to dance the night away at The Red Carpet Lounge in St. Cloud, MN dancing on the tables (along with a lot of other wild and crazy kids) to The Lamont Cranston Band (I just found this video when thinking about the question - what great memories. ). Those guys knew how to have a good time and I partied with them after shows on a few occasions.
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Post by donavan on Jun 26, 2016 13:36:36 GMT
Now the consequences of leaving the EU are unravelling some people who voted LEAVE are having second thoughts. My question is why didn't REMAIN point out these consequences with a bit more vigour?
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Post by peggs on Jun 29, 2016 23:42:49 GMT
Here's a question for our UK brethren. Why the hate for Jeremy Corbyn, especially from within the Labor party?
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Post by donavan on Jun 30, 2016 8:45:52 GMT
Because he just ain't cutting it. I agree with most of the things he says but he's damaged goods and unelectable. With the possibility of a snap General Election, Labour need a new leader and to pull themselves together. Otherwise they face being completely wiped out. And a massive Tory majority with soon to be no EU legislation to protect workers would be a disaster. There's no coming back from a vote of no confidence. It's just about having a less right wing government now, sad but true.
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Post by donavan on Jun 30, 2016 8:53:05 GMT
Some people say he didn't push the Remain argument enough because he wanted Leave to win. It's said he refused to say which way he voted.
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Post by peggs on Jun 30, 2016 10:59:49 GMT
Thanks, donavan. From my perspective it seemed Corbyn appeared out of nowhere a few months ago. Then, just as I was beginning to learn about him and his politics, the campaign happened and all hell broke loose. A coworker, formerly from Yorkshire, likens Corbyn's unexpected rise in UK politics to that of Trump's here in the US (of course on opposite ends of the spectrum); neither very well liked by the establishment or the general population.
I saw a clip from a UK morning show where Nigel Farage was asked about the millions of £££ the leave folks said could/would be used to fund the NHS and education. I was not surprised when he said that that was not going to happen. What are your laws on public flogging?
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