Mastering Blues CD's

Thu Jan 16 18:13:57 EST 2003

> Many of my most treasured recordings are acoustic, and
> later recordings of the "fly on the wall" variety.

And they were produced

> Sure there have been producers and/or "A&R men as long
> as there have been recordings, and the number of idiot
> A&R men stories told by veterans of the era are numberless.

That doesn't mean they are right!

> What I most miss is the old idea of "do it right or do it
> over."  It often did a great job of focusing the musicians
> in a way no modern studio tool or producer can.

That is a producer's job!

> Few here are much interested in the same sorts of music I
> am, but what people like me treasure are those old "air
> check" recordings made off the air.

And they were produced, usually days before the broadcast.
which also had a producer (though the titles may have been different pre

<<<<Often tunes were done the artist never did commercially, or they were
totally different performances than their commercial releases.>>>

Recordings are moments in time.

> One of the greatest recordings Benny Goodman made for
> instance was his solo in "Sing Sing Sing" at the Carnegie
> Hall concert.  A single mike over the stage, and it wasn't
> even intended to ever record the concert for release.  But it
> captured something that probably would have been tossed
> out in a modern studio performance:  Jess Stacy's solo.

That is conjecture!   Probably not, as hot solos seem to be more common
these days

> One thing of many I don't like about modern recordings is that
> in the quest for some sort of ideal composite performance
> is that all the juice is squeezed out.

Again you speak of exceptions.  I am speaking of all recordings, and they
are, and have been, in general, produced!

> Was it really all improvised or rearranged between takes?  I
> don't know but the thing is that today most people will never
> have a chance to even guess because what is issued will be one,
> often a composite performance.

Sometimes, but probably not.

> A phrase I like to use is "organic music":  A performance that
> is entirely spontaneous, even if it's reading charts the whole way.
> But it's what happened without someone twiddling knobs and
> taking bits of this and bits of that to build the result.

It is my contention that it would be rare for you or anyone to know the
difference on a well produced record.
As for twiddling knobs. same as doing another take and moving the mich..   I
just think you speak of exceptions like they are the rule.  They really are

  A well produced album sounds exactly like it has not been produced

>>.  But the ones I tend to favor are those where
> there is as little interference as circumstances require.

It is my contention that you just don't understand!  But I really don't
expect you to.
Carry on.


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