Posted: Fri May 21, 2004 3:36 pm
Well, of course, methods change. A lot of stuff that used to be done with tape an scissors is now done on a computer, so a lot of the lines blur. And some albums have tweaks like that while others don't.
A place to discuss music and Mallard Fillmore
http://forums.lukpac.org/
Rspaight wrote:(that would only be caputred digitally using a direct feed from a turntable output)
Hence my brilliant business plan. I could call it RK Records (for the Rice Krispies background noise).
By the way, are these Eno records any good? I'm only familiar with his ambient stuff.
Ryan
lukpac wrote:krabapple wrote:But time and again vinylphiles claim that the old CDs did *not* replicate that sound..even though soem of those CDs seem to ahve been straight digital transfers. So, either the digital trasnfer process was imperfect, or LP/turntable/stylus systems add something to the sound (that would only be caputred digitally using a direct feed from a turntable output).
Well, I think it could be a number of things:
1) We have no way of knowing if those were "flat transfers" or not. I've heard stories of lots of added top end to CDs, mainly because it could finally be done. That didn't mean it had to sound good, though.
2) Some CDs could actually use the original "flat" masters, or copies thereof, which simply may not sound that good flat. Just because something is from a copy tape doesn't necessarily mean EQ was added.
3) Even if the copy tape had EQ on it, it didn't necessarily sound good in other respects.
4) The LP (at least the "good" one that was the basis of comparison) may not have come from the same generation of tape that the CD did. The LP may have been cut from a first generation tape (see above), while the CD was cut from the production master (ie, a bad one), or even a copy of said production tape.
5) Some "vinylphiles" are deaf.
I think there's a lot of assumptions on both sides of the argument that simply don't hold up. I think if you were to go in a time machine and find out exactly what was being done back then, a lot of the assumptions ("all flat transfers", "from crappy copy tape", etc) would be proven as untrue.
krabapple wrote:Collaborators on it include Robert Fripp (who turns in one of his best-ever solos on 'St Elmo's Fire') , Phil Collins (back when he could play) and Percy Jones of Brand X.
Good god, yes. In particular , "Another Green World' is a flat-out classic AFAIC...a sort of musical kaleidoscope.Collaborators on it include Robert Fripp (who turns in one of his best-ever solos on 'St Elmo's Fire') , Phil Collins (back when he could play) and Percy Jones of Brand X.
Before & After Science is similar thogh marginally less good. But everything Eno did in the 70's is worth owning., AFAIC.
From the soundtrack to the classic "Brat Pack" film of the same name?
krabapple wrote:Collaborators on it include Robert Fripp (who turns in one of his best-ever solos on 'St Elmo's Fire') , Phil Collins (back when he could play) and Percy Jones of Brand X.
Patrick M wrote:krabapple wrote:Collaborators on it include Robert Fripp (who turns in one of his best-ever solos on 'St Elmo's Fire') , Phil Collins (back when he could play) and Percy Jones of Brand X.
From the soundtrack to the classic "Brat Pack" film of the same name?