Vinyl scoop --- Charlie Byrd direct to disc recording
Greger Hoel
white vinyl. It's simply entitled Charlie Byrd; the label is Crystal Clear
Records. If you find one in good condition---get it. It sounds just
incredible. "Direct to disc recording" means that it's recorded straight
to the LP master disc. No 2" magnet tape in sight. It sounds incredibly
sweet and three dimensional. Airy highs and very clear bass.
The lineup, besides CB himself, is Joe Byrd on bass, Wayne Phillips on
drums, Paula Hatcher on flute and Bill Reichenbach on trombone. Being
recorded direct to disc, it's entirely a live in studio album. No editing
whatsoever. Yet, I noticed no clams on the first playthrough.
I googled it trying to ascertain its value---there are copies around, for
not that much money.
--
Always cross a vampire; never moon a werewolf
Mark Guest
I just ran across a pre-mastered, mixed CD of some stuff I did. Sounds
so much better than the mastered version. I know that mastering is a
necessary evil for radio play, but WTF... why does it need to sound so
flat?
dunlop212
time before the stereo era, I assume. I assume that just about
everything is direct to disk now.
Rick Stone
> I just ran across a pre-mastered, mixed CD of some stuff I did. Sounds
> so much better than the mastered version. I know that mastering is a
> necessary evil for radio play, but WTF... why does it need to sound so
> flat?
That all depends on the mastering engineer, and it's a constant battle.
Getting higher level withing the 0db ceiling of digital formats kind
of became like an arms race.
If you get a guy who's main business is jazz, it doesn't need to sound
"flat" but you probably have to come to NYC and pay good $$. The guys
who do other styles have a different aesthetic and are probably NOT
going to give you what you want no matter what you pay them. They just
don't "hear" it that way.
Broadcast has their own compression going on as well, so contrary to
what you might believe, you DON'T want to give it to them to "squashed"
already. But you DO want to make your tracks loud enough so they don't
sound like crap when played next to the stuff coming out from Blue Note,
Sony, etc.
Rick Stone
email: rick...@rickstone.com
website: www.rickstone.com
epk: www.sonicbids.com/rickstone
Other sites: www.myspace.com/rickstonemusic
www.facebook.com/rickstonemusic www.reverbnation.com/rickstone
www.youtube.com/jazzand www.cdbaby.com/all/jazzand jazzguitarny.ning.com
Mark Guest
> Mark Guest wrote:
> > I just ran across a pre-mastered, mixed CD of some stuff I did. Sounds
> > so much better than the mastered version. I know that mastering is a
> > necessary evil for radio play, but WTF... why does it need to sound so
> > flat?
>
> That all depends on the mastering engineer, and it's a constant battle.
> Getting higher level withing the 0db ceiling of digital formats kind
> of became like an arms race.
>
> If you get a guy who's main business is jazz, it doesn't need to sound
> "flat" but you probably have to come to NYC and pay good $$. The guys
> who do other styles have a different aesthetic and are probably NOT
> going to give you what you want no matter what you pay them. They just
> don't "hear" it that way.
>
> Broadcast has their own compression going on as well, so contrary to
> what you might believe, you DON'T want to give it to them to "squashed"
> already. But you DO want to make your tracks loud enough so they don't
> sound like crap when played next to the stuff coming out from Blue Note,
> Sony, etc.
>
> Rick Stone
> website:www.rickstone.com
> epk:www.sonicbids.com/rickstone
> Other sites:www.myspace.com/rickstonemusicwww.facebook.com/rickstonemusicwww.reverbnation.com/rickstonewww.youtube.com/jazzandwww.cdbaby.com/all/jazzand jazzguitarny.ning.com
Hi Rick,
I guess my NJ guy was close, but no cigar. I'll ask for advice before
doing it again.
All the best,
Mark Guest
Jazz Guitar
www.markguest.net
www.cdbaby.com/cd/markguest
Music produces a kind of pleasure which human nature cannot do
without."
Confucius (c.551-479 BC)
Greger Hoel
<mark.c...@gmail.com>:
> I just ran across a pre-mastered, mixed CD of some stuff I did. Sounds
> so much better than the mastered version. I know that mastering is a
> necessary evil for radio play, but WTF... why does it need to sound so
> flat?
Because the flatter it sounds, the louder the overall level is. It ain't a
question of mastering or not, IMO; it's a question of bad or good
mastering. Google the "loudness war" and you'll find plenty on why bad
mastering is the norm.
Nate Najar
that's a great album. Charlie plays his butt off on it. there's one
tune on there called "moliendo cafe" which is a 6/8 thing that is just
hot as can be. Charlie did that tune on an album with aldemaro romero
also.
N
Greger Hoel
> that's a great album. Charlie plays his butt off on it. there's one
> tune on there called "moliendo cafe" which is a 6/8 thing that is just
> hot as can be. Charlie did that tune on an album with aldemaro romero
> also.
Yeah, the album kicks off with Moliendo Cafￜ. That one and Django's Swing
39 are my faves.
ner...@optusnet.com.au
ps: a cross only works on Christian vampires [cf 'The Fearless Vampire Killers', Polanski 1967]
ott...@hotmail.com
Those Direct sessions required the musicians to play All of the tunes on 1 side of a vinyl recording, about 20 Minutes, to be played without interruption or discussions, not even between tunes, kind of a Giant medley.
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