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ARSCLIST  October 2012

ARSCLIST October 2012

Subject:

Fw: [ARSCLIST]

From:

DAVID BURNHAM <[log in to unmask]>

Reply-To:

DAVID BURNHAM <[log in to unmask]>

Date:

Wed, 10 Oct 2012 09:01:26 -0700

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (63 lines)

----- Forwarded Message -----
>From: DAVID BURNHAM <[log in to unmask]>
>To: Tom Fine <[log in to unmask]> 
>Sent: Wednesday, October 10, 2012 12:00:26 PM
>Subject: Re: [ARSCLIST]
> 
>
>I did a lot of work with Glenn Gould around 1981 and I think he was the one who told me the story.
>
>
>db
>
>
>
>>________________________________
>> From: Tom Fine <[log in to unmask]>
>>To: DAVID BURNHAM <[log in to unmask]> 
>>Sent: Wednesday, October 10, 2012 11:54:45 AM
>>Subject: Re: [ARSCLIST]
>> 
>>The thread of truth in this may be that Kazdin liked to record to 8+ tracks and then mix later in a studio environment. I do think Columbia used the 3M system, which would have enabled this, but if they went through a phase of mixing to 2-track and recording right to the Sony 1600/1630 system, it would not have been possible. I'm not sure if Columbia went from 3M to Sony or Mitsubishi multitrack digital. I have never heard that Kazdin story so do not know its veracity.
>>
>>RCA appears to have been comfortable mixing to 2-channel at the sessions. They used the Soundstream
 system and then I think a Sony 1600 varient. They may have used multitrack digital, too, at some points. It's possible they used all 4 tracks on the Soundstream and thus mixed to "stems" and mixed the final 2-channel product in the studio. Hopefully Jon Samuels will chime in on this topic.
>>
>>-- Tom Fine
>>
>>----- Original Message ----- From: "DAVID BURNHAM" <[log in to unmask]>
>>To: <[log in to unmask]>
>>Sent: Wednesday, October 10, 2012 11:12 AM
>>Subject: [ARSCLIST]
>>
>>
>>I remember hearing a story in the early '80s about Andrew Kazdin getting in trouble at Columbia because he recorded some significant classical projects in analog when the company had already switched to digital. He apparently felt that the analog recordings were still superior and
 that digital wasn't up to speed yet. His bosses felt that he had wasted the whole sessions. Since we can now enjoy the benefits of analog master tapes on SACDs compared to regular CDs, perhaps he wasn't too far wrong, however I don't understand why he wouldn't have recorded in both formats. This was done with Glenn Gould's 1981 Goldberg Variations and when a new mastering was done in, (I think), the '90s, they used the analog master rather than the digital.
>>
>>db
>>
>>
>>
>>> ________________________________
>>> From: Steven Smolian <[log in to unmask]>
>>> To: [log in to unmask]
>>> Sent: Tuesday, October 9, 2012 11:51:26 AM
>>> Subject: [ARSCLIST]
>>> 
>>> Does anyone know in what year RCA and Columbia were recording mostly in
>>>
 digital? I'm not interested in when their firsts were but when it became
>>> common practice.
>>> 
>>> Steve Smolian.
>>> 
>>> 
>>> 
>>
>>
>>
>>
>>
>
>

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