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Today's Birthday
For Beatles fans only
Lango-Django
Niagara-On-The-Lake, ONModerator
I suspect that a lot of guitar players around here who are in my “boomer” demographic were, like me, simultaneously gobsmacked by puberty and the Beatles…
…so if you are a fellow member of that group, I have an amazing treat for you… check it out… this recording was made at the famous July 1957 Quarrymen gig where McCartney first heard Lennon…
Paul Cezanne: "I could paint for a thousand years without stopping and I would still feel as though I knew nothing."
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
Comments
Wow a treat indeed from their skiffle days!
First tune was Lonnie Donegans "Puttin' on the style".
Can't make out the final fragment - maybe "Salty Dog".
Somebody suggested it was Elvis’s then-hit “Baby, Let’s Play House”…?
Apparently, these are clips from a longer recording that somebody bought at an auction….
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
Somebody suggested it was Elvis’s then-hit “Baby, Let’s Play House”…?
That's it!
That must be one of the worst recordings of any band in existence, lol. For fans only, just as title said.
I was once on a different spectrum when it comes to recording quality. When I was doing my av installs business, I went to this audiophile show/conference. One day this company had a listening party for Sgt Pepper's album. It was played on a reel-to-reel machine and the tape they had was a first master copy (they were telling us how the company had to jump through dozens of hoops to get possession of the tape). The theory is, for the absolute best reproduction, you want to listen on the same medium the actual studio recording used. There must've been quarter of a million bucks equipment in that room, possibly more. Speakers they used were one of MBL omnidirectional models which currently their top of the line model is that much, quarter mil a pair. Listening to it, the sound was so real that it was sureal. To the point of having a feeling of a physical presence, I was getting chills sitting there hearing their voices and instruments.
Hey, Buco, how interesting that you were in the AV install business… this current pandemic period would seem to be the Golden Age of AV installs…?
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
That could very well be. It's been strange to hear about spikes in hobbies people have taken up during pandemic. I stopped once we moved to the east coast but the upshot is that I got a rare opportunity to practice more and get better at guitar playing. The whole, sort of, reason I got into av installs was for these opportunities to hear some of these systems whether at customer homes or the trade shows. Most of my wealthy customers didn't mind me bringing my own music and spending some time listening to it.
Talking of listening to the sound quality for playbacks, I was lucky enough to be friends with quite a few well-known studio players in London back in the 1970s and '80s and often got to hear how the engineers would listen carefully on the highest of hi-fi studio monitors to tweak the finished sound. Having sat through a recording (which means really 'being there') then the playback, then yes it was the same as 'being there'.
But then they would also use tiny little cheap speakers to verify how it would sound on the average in-car radio which is where most people would be hearing the finished product.
The only thing I know about the esoteric art of mastering is one of the reasons it's done is to make sure the recording plays balanced on the whole range of speakers and systems. I remember reading the same in biography on OMC aka Pauly Fuemana (sound familiar, Chris?), the first thing they'd do once they thought they have a finished song in the studio is to run to the car and listen to it there.
You know what’s an amazing 21st century tech marvel?
My wife’s iPhone must have an even tinier speaker than those old car radios did…
…and yet it sounds awesome!
WTF? How did they do that? Magic?
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
Well I was talking about mixing live in the studio, meaning playing with what was on the tape tracks to get a balance between instruments (or vocals) to get a 'finished' sound close to how the record would sound. That usually only came after all of the separate tracks were done. Sometimes right there at the time, sometimes that would be done elsewhere, even in different studios by different engineers but mastering came later and is a totally a different thing, I know nothing of that, there must have been some other science to getting what is on tape to making it work on vinyl.
And no, I have never heard of either OMC or Pauly Fuemana, sorry.