Reggae in its pure Jamaican form, even up to now, mostly recorded in multi track mono, mixed down to mono masters, meant to be played in mono for the dancehall sound systems. Vocal in one channel, instruments in the other, totally killing the impact of the recording, and compare with the original Ja.
Island also took to speeding up master and adding spurious overdubs and stereo effects in the UK to Ja. Some Ja. Back when stereo cost a buck more, most buyers were willing to pay that extra dollar for Jim Nabors or Robert Goulet or some other bellowing baritone.
I recently replaced my mono copy of a Smothers Brothers LP with a stereo one, and what a difference. The stereo mix places you squarely in the middle of a live-and-laughing audience. This mix sounds particularly different from the single. My guess is that it was a work tape that got lost or erased before the stereo mix was made.
RCA Victor was making orchestral three-track recordings starting in They began releasing true stereo vinyl records in I am an audio restoration engineer, my skill involves taking an existing recording usually from vinyl and making it OK to repress… with ALL the potential trouble that it can bring. Trust me, I am on a permanent learning curve. The best example I can come up with is the Beatles White Album. The true Mono mix is exceptional.
The stereo version is.. If for no other reason than the sound quality I would recommend you at least try and find a good copy of the mono version. Some mixes really are better in mono… precisely because they were meant to be that way. Everything has its exceptions though…. If done well. My job as an audio restorer is actually helped by stereo… even in mono.
Let me explain: If there is a click on only one channel I can take the majority of the signal of the opposite channel to paste-over.. Am I making sense? Listening: I am a lifelong audio Nerd and proud of it. Stereo listening is not as straightforward as any old marketing may have you believe.. First of all you have to make sure your equipment is putting out equal levels across the channels. Then you need to be sure they are adequately spaced, with at least 35 degrees of angle between the ears and the speakers from 90 degrees dead-ahead..
And not least, you need to get your head, not only equidistant between the speakers, timign is SO crucial for stereo imagery you also need to be sure that both your ears are working properly AND that you are not tilting to one side or not facing straight towards phantom mono. A good stereo recording listened to on a good system with the right amount of attention and comfort is… unbeatable.
It also accounts for probably about 0. Certainly easier.. Onteo is correct. As I recall, record stores put the same titles in the bin, and the buyer had to choose—in my case mostly based on price.
As the story goes, Delia transplanted from Miami to New York City in the mids, working in various dance and guerrilla theatre troupes. It was around this time that she met synth wizard Gavin Russom, beginning a series of multi-disciplinary collaborations.
The project was further exhibited in Zurich. Both exhibitions were built around four 16mm ballet dance films, accompanied by the music composed by Gonzalez. The films were exhibited in their third incarnation at the Clocktower Gallery in New York City in Delia enlisted New York underground musicians Bryce Hackford and Alice Cohen to perform a live, electronic adaption of the original piano score.
Bryce later contributed four remixes, which are included on this album. In we were all in Vienna participating in a show entitled You Are Free. There I met Bryce and I instantly loved him. I took him up on it. Musically, In Remembrance finds Delia Gonzalez again straddling the lines drawn between the fine art and pop worlds. This time, instead of the cosmic, arpeggiated synths of The Days of Mars , we are presented with something even more immediately beautiful.
The music is immediately soothing and hypnotic, yet it also maintains a sinister undertone. Suspense and tension are expressed in a deceptively simple fashion, providing a soundtrack both mesmerizing and melancholy for the dancers in the film. Delicate layers of piano wind around each other, reflected in the mirrored motions of the dancers, filmed in leering close-ups.
The second disc features remixes by previously mentioned live collabator Bryce Hackford. Instant party soundtrack! Includes two discs of unmixed tracks, and a bonus third disc mixed by Tim Sweeney and Tim Goldsworthy. An essential dive in to the original era of DFA. Black Bubblegum is the newest LP from Eric Copeland, and we are not kidding when we emphasize it sounds like nothing he has done in the past. For a long time, Copeland considered this collection of songs to be recordings which would never be heard.
This invariably influenced certain decisions made during the creation of Black Bubblegum , blessing Copeland with the unique freedom that comes from making music never intended to be heard, let alone released. No Beach Boys, no Beatles, no Buddha More Bad News Bears. A wildly prolific solo artist, Copeland has played shit houses, party palaces and seemingly everything in between all over the world. While maintaining a relatively humble and low key presence in a highly competitive musical world, he has releases a prolific amount of music every year through indie labels such as L.
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