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Post by tonycamphd on Oct 28, 2013 11:58:07 GMT -6
^ agreed, organic, plug in and rip sessions, are such an anomaly these days, it seems like there is this virtual synthetic phase film over 95% of modern releases, and i won't even bring up the staring at the sun through the peep hole in the door dynamic range bummer. Bob Olhsson in the house, this is so cool!! |
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Post by cowboycoalminer on Oct 28, 2013 12:52:16 GMT -6
Good to have Bob!
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Post by Johnkenn on Oct 28, 2013 17:34:23 GMT -6
You know, though...I'm one of those people that have to use production to aid (HIV) myself...so, I shouldn't knock it too much...But I'm amazed when I hear stuff like Foy Vance "Indiscriminate Act Of Kindness"...When you're immensely talented, you should just do it in the raw.
Have you guys seen the "Muscle Shoals" documentary? There's all this fantastic music in it and then they cut to Candi Staton cutting at FAME in present day with the same producer, fantastic players (I recognized Tommy Harden on drums)...and it just sounded totally lame. Why? Am I just conditioned to not like anything new? Of course, the material is paramount - and when you hear a lot of these recordings, you're hearing only the magical songs and moments that happened...but it was more than that. I don't know - is it the utter high fidelity of modern equipment that makes things not sound "right"...It's almost like its too slick.
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Post by Bob Olhsson on Oct 28, 2013 19:16:57 GMT -6
A great deal of the"sound" was bleed especially into the vocal mike. Most contemporary singers and musicians want to be able to "fix" stuff. That was impossible recording to mono, 2, 3, or 4 track so people just let it bleed back then.
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Post by tonycamphd on Oct 28, 2013 19:48:31 GMT -6
you can pretty much do anything as long as it's not boring(jeff beck quote), there was an element of danger in recorded music back in the day, it equated to translatable excitement. Zeppelin is a great example of danger in music, it's part of what makes them exciting and a perennial top seller for the last 45 years! Earth wind and fire, stevie wonder, these goat rodeo fella's are amazing musicians, definitely dangerous, exciting and far from overproduced pretenders..what ever happened to the pride of being a truly talented badass? It's just not revered anymore. Now any dumb ass can get produced to sound fecklessly competent, seriously, all i hear when kanye west does what ever it is he does, is "yeah"..."yeah".....really??
let me save someone the time, "get off my lawn you dang kids!"
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Post by Calvin on Oct 28, 2013 19:54:26 GMT -6
Oh, my. "Here and Heaven" is just devastatingly beautiful. Wow. I'm very glad I tuned in to this forum today!
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Post by Martin John Butler on Oct 28, 2013 21:06:14 GMT -6
I wish I could love the music of someone young and new and talented. The best "new" real deal thing around to me has been Ryan Adams, and he's on something like his 12th album by now..
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Post by lolo on Oct 28, 2013 22:59:00 GMT -6
A little of topic, any one gere familiar with Kip Moore's stuff.
He has one or 2 truck/beer songs which i dont like,
But the rest of his stuff is pretty well written imo.
Like the sound of his stuff.
Looking forward to his new record coming out soon
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Post by cowboycoalminer on Oct 29, 2013 13:09:19 GMT -6
A great deal of the"sound" was bleed especially into the vocal mike. Most contemporary singers and musicians want to be able to "fix" stuff. That was impossible recording to mono, 2, 3, or 4 track so people just let it bleed back then. Full of glorious imperfections. I like listening to the old Hall and Oats stuff when I'm tooling around in the studio. Little pitch issues here and there all over it. And I couldn't care less. Love that it's imperfect. Sounds so real. |
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Post by Bob Olhsson on Oct 30, 2013 12:09:21 GMT -6
What's important is "real" because that's what connects us with one another.
Intentionally sloppy performance or funky sound quality is no more real than having everything intentionally pristine. When it's real, nobody tends to notice that stuff except when something becomes a distraction after numerous plays. When I was working in motion picture post the term "suspension of disbelief" came up a great deal as being our goal. I think that same goal ought to apply to records.
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Post by Martin John Butler on Oct 30, 2013 12:36:35 GMT -6
I'm curious to hear what you guys think of this; T-Bone Burnett produced the Robert Plant/Allison Krauss "Raising Sand" album. I love the risks taken with so much vibe, slow tempo's etc. I love and respect T-Bone, and I bought the LP. I felt the Album of the Year, Grammy award winning production sounded fake in many ways. The application of murky distortion to get that swampy sound, to me, sounded like it was being imitated digitally, not done for real. It may not be true, but to me, the atmosphere just felt a little fake. I can't tell if it's my imagination, or just the nature of digital processing.
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bummer.
