Discussion in 'Music Corner' started by Steve Hoffman, Apr 20, 2006.
You've taken the RTI tour!
If you would ever get your butt to LA you would know all!
Thanks Steve & Mal!
I'll get my butt there eventually...
As Led Zepplin said, Ramble On! I love this stuff, and what I originally came to this site for...and you know me! Lord, I was born a ramblin' man!
This is fabulous stuff Steve, many thanks.
I was listening to your MCA comp of the 'Sons of the Pioneers' last night, a terrific sounding LP, and was wondering what you mean when you say you used the 'metal' parts for your source. Does this mean they are 'mother' parts and did you actually play them with a stylus? If so what kind of system would play those parts?
Those are original Decca "mothers" from the mid 1930's. I played them on a turntable to transfer them to tape. Came out pretty good..
Damn right they did!
I noted with interest somethinq you said in the "BEACH BOYS: Two "Pet Sounds" questions" thread:
Thanks to this info I now know how all the overdubs were done on The Beatles early 2-track recordings (and why songs like "Little Child" sound the way they do!).
I was just wondering if you knew when Sel-Sync came into use at Abbey road (or anywhere for that matter) ?
Thanks for the thread! Great reading!
I have a question about recording...what is it that causes that sort of out-of-phase sound on some recorded vocals? Examples: John Fogerty's lead vocal on "Midnight Special" and Bruce Johnston's part on the Beach Boys' "Add Some Music To Your Day" ("They'll play it on your wedding day. There must be 'bout a million ways to add some music to your day"). Does this happen due to phasing problems created by having the multitrack playback feeding back into the microphone while the singer overdubs his part?
What type of hirez format would you prefer to see in the future from a sonic standpoint and why?
Some new form of DSD?
Or more vinyl?
Sel-Sync (a way of keeping an overdub in sync by monitoring the record head instead of the out of time playback head) was in use on the first four-track machines at No. 2 Studio at Abbey Road by 1963's end. Before that happened, they did this:
Well, I don't understand your question. Those are effects done on purpose, not accidents.
I miss Angel...
I suppose I can see "Midnight Special" being on purpose if they were going for a certain sound but Bruce Johnston's brief vocal part on the Beach Boys tune just sounds off to me. Here's a short sample of the a cappella mix that really exposes the weird sounding vocal when Bruce's line comes in. I just don't know why anyone would intentionally create that sound. I chose the first time he comes in ("Your doctor knows it keeps you calm...") as it is more noticeable than the second:
"Add Some Music To Your Day" swishy vocal sample
Phasing artifact, maybe? It's the same type of sound that I heard when I was recording my drums with a Neumann mic. I used to do music in a voiceover studio and my drums were in the small main room, along with a Neumann. I want to say it was a U-87? I noticed a peculiar sound if I went at my cymbals too much, and discovered it was the bounce back from the door. It might be the reflection's coming back out of phase to the mic from a window or the other Beach Boys that were doing the backing vocals. This is all just speculation, and since this is such a great place I'm hoping for lots of contrary and informative opinions! Sorry for the book; I get carried away here sometimes!
It may be that Bruce Johnston used speakers to monitor the multitrack audio while recording his vocal, instead of headphones; or maybe they were too loud. That difference in time between what was recorded and what was put on the tape at the moment could make a phasing, flangey, or swishing effect, whatever you want to call it. Remember that you´re listening to his voice and the playback of the music too, through the same mic.
I've noticed that some labels seem to re-master albums quite regularly. Does this mean the original master tapes are continually being sent back and forth (in some cases between different countries)? Is there a concern that they may get damaged or lost in transit?
WOW, Was it a regular TT with a regular cart. Did the stylus get ruined playing on metal? This is amazing stuff.
Considering the actual mono tape had apparently already been mastered and was ready when Capitol found out about the mix-up, I don't think so. Seems more likely it was made as a reference of sorts. Why? This is *really* speculating, but perhaps to more easily compare to the actual mono mix?
Plus the same thing happened for VI as well...
...and "The Early Beatles" and "Help!" - although Capitol don't seem interested in replacing those with digital transfers from the original 1965 mono Type B tapes....
What sort of click reduction was used for remastering from metal workparts, or shellac, etc. in the pre-digital age? I have a dbx expander and it reduces the clicks but you still hear them, but perhaps they used a similar process . . . . . . ?
I have (for example) a Prokofiev on piano performance on Angel mono lp, by the date of the performance (pre-war) it had to be cut from a direct-to disc 78rpm recording . . . nevertheless there are NO such artifacts. The top end is as clean as a whistle! And very natural sounding!
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I have a later Caruso lp that was digitally de-clicked, that one was done by computer per lp liner notes - I'm wondering about earlier processes.
Me too, she was snagged and had to back off here. Too bad! Didn't want to lose her job though..
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