From: Patent Tactics, George Brock-Nannestad
Hello,
the rest of you stay with your subject line!
But Sam, you used the expression "ARSClist archives"; please tell me and the
rest of us pre-posterity where you hide those!
Kind regards,
George
> To those of you discussing the Beatles, auto-tuning, HMV shellac
> composition, and other truly interesting topics, for the sake of
> people today trying to follow threads, and that of posterity using the
> ARSClist archives, for goodness sake, *please* change the Subject line
> of these posts.
>
> Sam
>
> On Wed, Apr 20, 2011 at 11:09 AM, Tom Fine <[log in to unmask]>
> wrote:
> > The auto-tuning is of course reprehensible, and indicates how untalent
> much
> > of the "talent" is today. But worse, in my opinion is the manipulation
> of
> > the beat so it's just a robot-pulse. Some of the obits of Roger Nichols
> > (RIP) got into how Donald Fagan got more and more obsessive about
> > machine-steady rhythms, and in my opinion his music tanked from it. I
> read
> > these things and I wondered, well you did an album ("Aja") that went
> > platinum and had Steve Gadd, Pernard Purdie and Rick Morotta on drums,
> just
> > how much more "perfect" do you want your beats? To my ears, robo-rhythm is
> a
> > plague and unmusical because it's non-human, just like auto-tuning.
> Click
> > tracks are bad enough, but if a human is using the click track just to
> get
> > him and his mates to land on the right beats, then it's fine.
> >
> > -- Tom Fine
> >
> > ----- Original Message ----- From: "Bob Olhsson" <[log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Wednesday, April 20, 2011 10:47 AM
> > Subject: Re: [ARSCLIST] First high-fidelity recordings released in 1944?
> >
> >
> >> -----Original Message-----
> >> From Tom Fine: "...Sometimes the stereo claifies a guitar lick or a
> bass
> >> line or drum track, but it rarely serves the singer or the song until
> the
> >> very late 60's onward..."
> >>
> >> A saving grace was the early stereo classical records that were
> recorded
> >> by
> >> a different crew without the conductor leaning over their shoulder. Our
> >> problem today is that we no longer have a George Martin and Norman
> Smith
> >> who
> >> also need to be satisfied by the mix and the mastering. The artists and
> >> songwriters call all of the shots with nobody representing the music
> fan.
> >> This is how we get pop records that have been AutoTuned to the point of
> >> choking if you try to sing along with them.
> >>
> >> The way we did it was to pour all of our efforts into obtaining the
> best
> >> possible mono mix. That was handed over to whoever mixed the stereo to
> >> "match." The stereo could reveal things the artist and producer would
> >> never
> >> have left the studio without fixing. A stereo remix of something
> produced
> >> for mono can be very much like "colorizing" a classic b&w movie. Motown
> >> remixed all of the stereo versions around 1967 which was an improvement
> >> but
> >> the stereo mixes still didn't get the same care or benefit from the
> >> excitement of creating a great mix of a brand new song.
> >>
> >> Bob Olhsson Audio Mastery, Nashville TN
> >> Mastering, Audio for Picture, Mix Evaluation and Quality Control
> >> Over 40 years making people sound better than they ever imagined!
> >> 615.562.4346 http://www.bobolhsson.com http://audiomastery.com
> >>
> >
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