If a composer can't come up with an ending for a song, just fade out!
Cheers,
GG
-----Original Message-----
From: Association for Recorded Sound Discussion List <[log in to unmask]> On Behalf Of Rodger J Holtin
Sent: Thursday, March 24, 2022 12:31 PM
To: [log in to unmask]
Subject: [EXTERNAL] Re: [ARSCLIST] ite rRE: [ARSCLIST] I hope others are enjoying the ARSC CD as much as me!
This message did not originate from SUNY Potsdam or one of its trusted senders. Do not open attachments, click on links, or provide your credentials if the source is suspicious.
And all of this comes after six or seven decades of pop radio habitually cross-fading records so that NO silence was heard between songs. It used to be station policy, now the software does it automatically by default. It can be changed and adjusted, but that has been the norm since I signed my first log 52 years ago.
Iām guessing this may have started with the de rigueur fade-out endings in pop records of the 1950s.
Rodger Holtin (ā72)
Freed-Hardeman University
Henderson, TN
FHU Vinyl Project
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-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Dennis Rooney
Sent: Wednesday, March 23, 2022 5:28 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] ite rRE: [ARSCLIST] [EXTERNAL] [ARSCLIST] I hope others are enjoying the ARSC CDas much as me!
Andreas Meyer's worthwhile comments are spot on. The First Law of Audio Production is that someone somewhere will always be dissatisfied with your choice. A good rule of thumb for pauses between movements or selections in classical music is: count to three, Andante. It produces a satisfactory breathing space to prepares the listener for the next event. I have found it a suitable compromise that will serve any musical genre except for situations demanding special juxtapositions..
DDR
On Wed, Mar 23, 2022 at 7:52 AM Andreas K. Meyer <[log in to unmask]>
wrote:
> Good morning,
>
> Just my 2 cent, a few times a year I get complaints from both camps on
> timing between tracks on reissue projects, "not enough time", "to much
> time".... you can't win. When putting together a sequence for CD
> release, we have always done the pauses by feel. Only when we had to
> squeeze more material to a CD's memory limit did we shorten timings
> between tracks.
>
> Since we are now a full generation of listeners who aquire music
> completely from streaming services, I have noticed those younger
> engineers trend toward very short pauses. I try to teach my younger
> employees, students and interns how to continue the tradition of
> making pauses by feel (i.e. a nice cleansing breath), but the market
> will still dictate - streaming removes pauses and does not play
> albums in sequence unless you tell your software to make it so.
>
> Finally, you can bypass the default of taking away pauses from
> streaming services if you do not add a "track end point", and just
> have the start of the next track be the previous end point. But then
> you get complaints from streaming listeners that a track is continuing
> in silence after it is complete.
>
> You just can't win.
>
> Enjoy and have a great day folks.
>
> Andreas
>
> On 2022-03-22 18:48, Barton, Matthew wrote:
>
> > Hi everybody,
> >
> > Thank you all for these comments. More care should have been given
> > to the space between tracks, and I can only say that in the late
> > rush to get the job finished, this didn't receive the consideration
> > that it should have.
> >
> > As I related in my introduction, no special formula was applied to
> > the selection, but the goal was always to have a rich and varied section.
> > I'm aware that the Toscanini is hardly a rare disc, and that it's
> > been re-released elsewhere, but Seth did a fine transfer, and to my
> > ears, the energy of the piece and performance fit perfectly with the
> > other five items in the opening sequence of the disc. Seth's other
> > contribution, the Blanche Marchesi side, is quite rare, but that
> > fact alone is not why it's on the disc.
> >
> > The Rienzi Overture sounds like a winner, and I wish I had known
> > about it. "Maybe next year" may seem like cold comfort right now,
> > but the percentage of classical music selections on this disc does
> > not predetermine the percentage that will be on future discs.
> >
> > Cheers,
> >
> > --MB
> >
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List
> > <[log in to unmask]> On Behalf Of Mickey Clark
> > Sent: Tuesday, March 22, 2022 6:21 PM
> > To: [log in to unmask]
> > Subject: Re: [ARSCLIST] [EXTERNAL] [ARSCLIST] I hope others are
> > enjoying the ARSC CDas much as me!
> >
> > Gary-Here's a link to my website with my transfer of the Rienzi in
> > video form. It's part of my Charles Adams Prince set-enjoy-Mickey
> >
> > http://mcproductions.ca/product_info.php?products_id=42
> >
> > -----Original Message-----
> > From: Gary A. Galo
> > Sent: Tuesday, March 22, 2022 1:41 PM
> > To: [log in to unmask]
> > Subject: Re: [ARSCLIST] [EXTERNAL] [ARSCLIST] I hope others are
> > enjoying the ARSC CDas much as me!
> >
> > Hi Everyone,
> >
> > I agree with the very positive comments that have been made about
> > the ARSC CD, especially the quality of the transfers and the notes.
> > If I may utter two criticisms they would be as follows:
> >
> > 1.) Classical music really gets the short end of the stick on this CD.
> > The Secret of Suzanne Overture with Toscanini and Bist du bei mir
> > with Marchesi total a little over 5 and a half minutes, out of a 78
> > minute CD, or about 7 percent of the total time. I realize that
> > those of us in ARSC who are interested in classical music are
> > becoming more and more scarce, but could we not do a bit better than this, time-wise?
> > Classical music was in its heyday during the acoustic era and
> > represented a much larger portion of the major catalogs than 7 percent.
> >
> > 2.) Whoever did the CD mastering should have left a bit more space
> > between selections. Some of the breaks are barely 2 seconds long,
> > leaving little room for listeners to catch their breath before the
> > next recording begins.
> > Adding an additional 3 or 4 seconds would still have put the CD
> > comfortably under the 79:59 time limit for a CD.
> >
> > IMHO, a nice orchestral recording for the next CD would be the
> > Rienzi Overture with the Columbia Symphony Orchestra under the
> > uncredited Charles Prince (Columbia's Musical Director). Dating from
> > Feb. 1917, it's months ahead of Victor's first orchestral sessions
> > with the Boston Symphony and Philadelphia Orchestras, and it may be
> > the first time an American record company attempted to record a
> > full-size symphony orchestra (the label says
> > 90 musicians). This was surely an important technical innovation.
> > Despite one cut, it's also a surprisingly good performance. To the
> > best of my knowledge, this record has never received a reissue of
> > any kind, either on a later 78, LP or CD, making it just the kind of
> > classical rarity that would be appropriate on the next CD (the
> > Secret of Suzanne Overture was widely available on LP and CD, and
> > the BMG/RCA Gold Seal CD of Toscanini's complete La Scala acoustics
> > is still available from Amazon).
> >
> > I'd be happy to help with the selection of classical recordings for
> > the next installment.
> >
> > Best,
> > Gary
> >
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List
> > <[log in to unmask]> On Behalf Of Steve Ramm
> > Sent: Sunday, March 20, 2022 10:13 AM
> > To: [log in to unmask]
> > Subject: [EXTERNAL] [ARSCLIST] I hope others are enjoying the ARSC
> > CDas much as me!
> >
> > This message did not originate from SUNY Potsdam or one of its
> > trusted senders. Do not open attachments, click on links, or provide
> > your credentials if the source is suspicious.
> >
> > I'm working my way through the CD track by track and reading the
> > superb notes before I listen. Amazing stuff! And talk about super
> > rare. Some are only known surviving copies or maybe one of 3 or 5.
> > And transfers by folks like David Giovanonni and Seth Winner (who
> > donated their transfers!) are great! Steve
>
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