Paging Bruce Swedien: Whaddya think of this theory?

[Barandine Vondenger]

I became AWARE of the sonic possibilities involved with DEPTH yet I'm still haveing probs getting each part to sit in it's own sonic space and not be sonic'ly blocked out by the other movements.

I got the lef, right, back and front thang sure enough. I just copied old zappa and got that.

BUT allowing each movement to lay in its space and be heard all the way through will be so cool if I ever do it.

I fail to set the movements well. i have heard several really well done instances of this.

I am stomped by this.

Right now I arrange for drop out and and return.

I play the movement and then the next and so forth. I arrange so that when the vocals drop out the lead happens to hit a lead line or three. As the leads drop out the bass swirls up followed by a drum diddle.

it has been written as parts going from start to finish each its own groove. see, I had to arrange as it soundes coming out of the speakers..

So the SPATIAL thang is ga-roovy baby Iget that yet, the sonic niching has me stomped and cameled..

SO maybe I'll arrange differently if I larn to niche my movements ..

[David R]

Originally posted by Philip O'Keefe:

Here's something worthwhile to do - Try to figure out a way to get young people, that are interested in recording music, to experience and fall in love with the emotion of good music.

 

One thing I've done a few times is to sponsor a field trip for jr and sr high school kids to the studio... we get to talk about how math, physics and geometry are important to music production (which keeps the teachers and principals happy), but also about how music moves and inspires people (which makes me and the kids happy). WHo knows? Maybe it will inspire some kid to consider a musical life.

 

It's always been personally rewarding for me, and we usually try to do some tracks with the kids while they're here and send 'em home with a CD. I highly recommend it!

I've been really lucky - I did my first studio demo when I was 13, I enjoyed the experience of playing and then being able to listen back to it on high quality speakers, and working with someone else who knew and enjoyed music as much as I did (and more!). So I basically fell into that - now I'm a really fast worker in studio situations.

 

I'm 19, and many of my friends are into recording and computer music (running plug-ins and samples and such). Maybe my perspective is skewed because I'm in a Music program in university, but I think that in my generation, between the prevalence of hip-hop and the availability of software, there are more and more people interested in the prospects of sound recording. What we do need are more mentors.

 

David

[Anderton]

Bruce -- Wasn't it you who said at those Mexican seminars that people should go out and listen to live acoustic music to develop a sense of what "real sound" is? If I got you mixed up with someone else I apologize, but it still seems like a very pertinent comment to what you're saying.

 

With my Peter Gabriel example given before, I've heard Gabriel several times live, and it didn't sound like the mastered version of his CD. If I'd been mastering it, I would have tried to capture more of his concert experience, which is strong yet nuanced.

 

Even purely electronic stuff has more dynamics live, at least in the hands of good players!

[John Sayers]

A friend of mine was lying in bed in the accommodation at the Music Farm when David Tickle (english producer) and a band member returned from the studio and were making a late night coffee in the kitchen.

 

"So what does it take to be an engineer/producer" asked the musician.

 

Dave's reply: Well you go into the studio and ask the drummer to kick his bass drum - you listen to it and go into the control room and ask him to kick it again - shit you say! - now if you can make that kick drum sound like the one in your head you are an engineer. It doesn't matter how you do it - there are no rules.

 

I thought that was a pretty good reply.

 

cheers

john

[theblue1]

Originally posted by Bruce Swedien:

The words below are very interesting.....

(but way off the mark - At least My Mark!)

 

I can't help but thinking at least part of the issue -- at least in some of the examples you cited -- here is reality versus simulation.

 

I think a real instrument in a real physical environment is always going to sound a lot more real than any kind of simulation, whether it's an analog or digital recording using a spring reverb, a plate, a chamber or a digital reverb.

 

Now, does a spring reverb sound better than a digital reverb?

 

"Does a spring reverb sound better than a digital reverb? " - (give me a break!) All I can say to that is - TO WHO??? (no) TO WHOM??? Plus - WHO CARES!!!!

 

I think things became much clearer to me when I realized how important it is to conceptualize my own idea of what the Stereo Space actually is. In other words, the space that our sound-field occupies between the speakers.

 

First, I try to think of the "Stereo Space" as a piece of musical reality. Once we have acquired that concept, we can conversely, also think of the "Stereo Space" as a piece of musical fantasy. Whether or not it could exist in nature, or in a natural acoustical environment, is irrelevant. HEAR THAT - IRRELEVANT!!!

 

Most of the "Stereo Spaces" in my recordings, began their life in my imagination...

 

I like to think of my stereo sound-field as a Sonic Sculpture...

 

I always try to make my stereo sound-field far more than merely two-channel mono. In other words, I always try to make my stereo sound-field multi-dimensional, not merely left, center and right. For me to be satisfied with a sound-field, it must have the proportions of left, center, right and depth.

 

Since the middle 1960s I think my philosphical approach to using the "Stereo Space", has been to take the listener into a New Reality that did not, or could not, exist in a real life acoustical environment. This New Reality, of course, existed only in my own imagination. What I mean is, that before what I call The Recording Revolution, our efforts were directed towards presenting our recorded music to the listener in what amounted to an essentially unaltered, acoustical event. A little Slice of Life, musically speaking.(This Recording Revolution took place from 1950 through 1970)

 

I'm trying to steer you folks in a new dirrection....

 

Bruce Swedien

Now, let me say that I agree with many of your remarks about creating an illusion of an acoustic space, that the psychoacoustic soundstage can be canvas that we 'paint' on to create various illusions. And I also feel that we fail to serve art when we concentrate too much on technology. And I'll go on to say that some of my very favorite recordings were recorded on the most primitive of devices (I'm a huge fan of the young Louis Armstrong, for instance). And I'll go on to say that some of my favorite 'modern' (less antique, anyhow) recordings embrace what could only be described as a "surrealistic" effect/mixing/psychoacoustic model. (Thinking of Willie Mitchell's work for Al Green, here, or the brilliant dub recordings of Lee Perry.)

 

But I wonder why you focus so much derision on my illustrative (rhetorical, if you will) question "does a spring reverb sound better than a digital reverb?" -- particularly in the context of the comment I was making stemming from Craig's comment about real Leslie speakers versus sims (and I couldn't agree with Craig more, on that point, of course.)

 

To say my comments are 'way off the mark' without acutally addressing them is perplexing to me and I wonder what you're getting at, there...

[Lee Flier]

Originally posted by John Sayers:

Dave's reply: Well you go into the studio and ask the drummer to kick his bass drum - you listen to it and go into the control room and ask him to kick it again - shit you say! - now if you can make that kick drum sound like the one in your head you are an engineer. It doesn't matter how you do it - there are no rules.

 

I thought that was a pretty good reply.

Yeah it's a great reply - assuming the kick drum in your head doesn't sound like crap.

[Philip OKeefe]

Craig, Bruce mentioned the importance of hearing live music, in an acoustical environment in order to familiarize oneself with what instruments / music actually sound like on the other thread, so it was definitely Bruce.

 

To which I added (and will add again here ) that I could never understand (although I have frequently seen) first engineers who always send the seconds out to reposition mics and so forth but never bother to go into the studio to hear what things sound like IN THE ROOM for themselves. I could never understand how people could work like that.

[theblue1]

Originally posted by Lee Flier:

Originally posted by John Sayers:

Dave's reply: Well you go into the studio and ask the drummer to kick his bass drum - you listen to it and go into the control room and ask him to kick it again - shit you say! - now if you can make that kick drum sound like the one in your head you are an engineer. It doesn't matter how you do it - there are no rules.

 

I thought that was a pretty good reply.

Yeah it's a great reply - assuming the kick drum in your head doesn't sound like crap.

Coming up in the '80s, I started out busting my backside trying to make kick drums sound like the scooped out, overhyped, quarter under the beater kicks I heard in recordings. Then, one day, after recording scores of kits I realized two things:

 

a) I'd never heard a real kick drum in the real world that sounded like the kicks I was hearing on records

 

b) I really hated the sound of the kicks I was hearing on records

 

[Please, please, please do not get me started on gated snare reverbs.]

[Angelo Clematide]

-

[Hendmik]

Originally posted by Bruce Swedien:

That statement is so naive, it hurts!

Ah, to be called naive by one of the greats. Frank Zappa would be so proud.

[Bruce Swedien]

theblue1......

 

I'm really sorry that my answer came across like it did to you. I didn't intend it that way. It's just that I get all excited and start typing! Please forgive me....

 

Your motivation and your intentions are fantastic! I wouldn't want to mess that up!

 

And - I love spring reverbs! - (In their place!) We have much to talk about....

 

There - I'm bent over - You can kick my big Swedish ass whenever you're ready!

 

Bruce Swedien

[Bruce Swedien]

Philip O'Keefe and all.....

 

Phillp - You're a gasser! - (There I go again!)

 

I love this kind of thinking! - > "One thing I've done a few times is to sponsor a field trip for jr and sr high school kids to the studio... we get to talk about how math, physics and geometry are important to music production (which keeps the teachers and principals happy), but also about how music moves and inspires people (which makes me and the kids happy). WHo knows? Maybe it will inspire some kid to consider a musical life.

 

It's always been personally rewarding for me, and we usually try to do some tracks with the kids while they're here and send 'em home with a CD. I highly recommend it!" - > This is exactly what needs to be done!

 

I would do more of it - (But I hate kids!!! - That's not entirely true....)

 

I'm goinmg to get a wordy here.....

 

I was fortunate to have done quite a number of projects with Duke Ellington in my early years at Universal Studios in Chicago. Duke Ellington changed my life forever....

 

For your enlightenment, I'm going to quote him here - But it might as well be coming from me!!!

 

"Im a telephone freak, the greatest invention since peanut brittle."

- Duke Ellington

 

"I like any and all of my associations with music writing, playing, and listening. We write and play from our perspective, and the audience listens from its perspective. If and when we agree, I am lucky."

- Duke Ellington

 

"I am not a teacher."

- Duke Ellington

 

"Im the worlds worst disciplinarian. Theres too much responsibility in being a leader! You have to have the dignity and authority of a leader, and thats all so heavy!"

- Duke Ellington

 

"I live with music."

- Duke Ellington

 

Are those words incredible or what?

 

I recorded the Duke Ellington Band several times during my years at Universal Recording in Chicago.

 

The one group of sessions that stands out in my memory are a few days of work with the Ellington Band starting Thursday, November 29, 1962. Duke Ellington made quite an impression on this young 23 year-old Scandinavian kid from Minnesota. I can close my eyes and see him walking into the studio. He had a very regal bearing. I mean, the way he carried himself was like he was a member of royalty. When Duke came into the studio, you instantly felt something important was about to happen. And it always did.

 

Duke Ellington's music, of course, had preceeded him when he entered my life in the recording studio. There are six songs that Duke and his collaborators created that stand out in my musical memory as being some of the most important music in my life.

 

They are: "Mood Indigo", "Sophisticated Lady", Do Nothin Till You Hear From Me, "Just A-Sittin' and A-Rockin'", "Take The 'A' Train" and "Prelude To A Kiss".

 

I think you could say that Duke Ellington 'radiated' his being, his personality. He obviously, to me, and everyone else as well, loved his music 'madly'. Music poured from his body and soul.

 

I could tell instantly, the first time that I met Duke Ellington, that he not only loved music, but he 'lived' music! I don't think I have been the same since I met Duke Ellington. Working with him, those few times, made me realize how much music, and the recording of music really meant to me.

 

I have worked with many very talented artists in music, but none can compare with Duke Ellington for genuine love of what we were doing in the studio.

 

A couple of times when I was recording the Ellington band, I would invite some of my musician pals to come to sit in on the sessions. They would watch the proceedings with their mouths wide open in wonder.

 

Studio A at Universal Recording in Chicago was a very sizable studio. As I recall the dimensions were close to 75 feet in length by 50 feet in width with a 30 foot ceiling height. The control room was raised to the second story level. To enter the control room you had to go up a flight of stairs.

 

Looking down into the studio from the control room, I remember the Duke sitting at the piano during a Take with a very thoughtful expression on his face. All of a sudden he got up from the piano and tore of a little 4 by 6 inch piece of music manuscript paper. Next he thoughtfully scribbled a little four-bar riff on this scrap of music paper and quietly tippy-toed around the studio during the Take.

 

Of course he did this while we were actually recording. He would show this fragment of music paper first to the saxes.... they would all nod that they understood. Then he quietly tippy-toed over to the trumpet section, then the trombones. At the appropriate musical moment, Duke would stand in the middle of the band, raise his arms and with a great sweeping motion, conduct this little gem, and it would become part of the arrangement.

 

What actually happened was that the notes on that little bit of paper would become a part of music history. I always get goose bumps when I think about being a part of events such as this.

 

The Duke encouraged me to try out my ideas in the studio. If I wanted to try a different mike technique, a new band set-up, or whatever, I never got anything but support from him.

 

I watched him closely in the studio. He was perpetually excited about music, he adored his music. When he talked about something new, his eyes lit up and everyone in the room knew that we were on the brink of something fantastic! I desperately wanted to be the same.

 

All of a sudden, it hit me one day! Its OK to love your work!!! Its so simple! Later on I found out that in fact, its a real blessing to have a lifes calling that really turns you on.

 

There you are folks.....

 

Bruce Swedien

[Bruce Swedien]

Hendmik......

 

Oh poop! I did it again. Sorry Hendmik - I didn't mean it that way. You people are very sweet, and I can tell that you love the music recording thing!

 

I'll try to be nicer!!! I'll make a real effort to think first, and type later! - (No promises, though.)

 

Brucie the Viking!

[fantasticsound]

Originally posted by Bruce Swedien:

fantasticsound.....

 

You missed it.

 

You are assuming that everyone listens to mp.3's. for instance.

 

Does everyone out there know what assumption means?????

 

Bruce Swedien

I think it's naive to think that, with the advent of legal music download sales and high capacity media players (60+ GB), CD sales won't begin to diminish considerably in the next few years. Plus, the younger generation have made it clear that mp3's are just fine for listening quality. We appear to be moving back to the days when studio recordings were a magnitude better quality than the consumer formats available.

 

Bruce, that was a wonderful story about Duke Ellington. I can't tell you how disappointed I was, in college, to find I would never get to see the inside of Studio A at Universal as they were demolishing it. To add insult to injury, the owners of Universal built new studios in a Loop high-rise, only to bankrupt themselves in the upgrade. The only upside to this turn of events was that my friend's father, Rik Coken was in a position to buy their new studio and sell Zenith/dB Studios to Columbia College. (Columbia had been conducting classes in sound-to-video/film at Zenith, as well as several other classes with Malcolm Chisholm and others.)

 

Still, I wish I could've seen Universal before those major changes.

 

Originally posted by Anderton:

Bruce -- Wasn't it you who said at those Mexican seminars that people should go out and listen to live acoustic music to develop a sense of what "real sound" is? If I got you mixed up with someone else I apologize, but it still seems like a very pertinent comment to what you're saying...

One of my college teachers, Malcolm Chisholm or Marty Feldman of Paragon Studios (formerly) in Chicago taught us the same thing. The comment I remember vividly was, "Most people have never heard uncompressed and processed music."

[Lee Flier]

Originally posted by fantasticsound:

I think it's naive to think that, with the advent of legal music download sales and high capacity media players (60+ GB), CD sales won't begin to diminish considerably in the next few years.

?? If FREE downloading didn't kill off CD sales (which it didn't), certainly paid downloading won't.

 

Plus, the younger generation have made it clear that mp3's are just fine for listening quality.

The younger generation used to listen to AM radio like crazy, too, but that doesn't mean they didn't buy the albums and appreciate the superior quality.

[Bruce Swedien]

Forumites.....

 

I see a whole lot of assuming going on here.

 

Assuming that the record business is going to stay like it has been. I sure hope not!!!!

 

I asked if you knew what asumption is and no one was even curious! Here's what assumption really is!

 

"ASSUMPTION IS THE MOTHER OF FUCK-UP-TION!"

 

I think that the record business is going to come out at the other end of this "down-loading" dog-doo much healtier than when it all started!

 

Of course we are going to have to make much better music and product in general! I can do it, can you?

 

Doesn't scare me at all!!!! - (It's going to keep us all off the streets though!!!)

 

Bruce Swedien

[fantasticsound]

Originally posted by Lee Flier:

Originally posted by fantasticsound:

I think it's naive to think that, with the advent of legal music download sales and high capacity media players (60+ GB), CD sales won't begin to diminish considerably in the next few years.

?? If FREE downloading didn't kill off CD sales (which it didn't), certainly paid downloading won't.

 

Plus, the younger generation have made it clear that mp3's are just fine for listening quality.

The younger generation used to listen to AM radio like crazy, too, but that doesn't mean they didn't buy the albums and appreciate the superior quality.

First, I'd say you're making a huge assumption, Lee. You assume the massive amount of illegal file sharing was a measure of how many people would download, period. I would suggest that many people didn't download music illegally, but will gladly do so now that there are legal meanss. Just because a huge number of people showed their willingness to steal when it was easy and relatively safe doesn't mean there wasn't a much larger number of people who refused to do so. People who now have legal outlets to purchase music via download.

 

Second, the AM radio analogy is flawed. Last time I checked, no one has ever been able to continuously program the content on their AM radio, from a library of music covering every type of music, speech, stand-up or book-on-tape as can be done with a personal organizer sized media player. We have never seen anything close to the level of portability and control available in the past year. Plus, as much as we denegrate the sound of mp3's, the fact is they do sound far closer in quality to high quality digital formats then AM was to even the worst albums in the 1960's and '70's.

 

And Bruce, if I'm assuming anything, it's that the record industry will continue to evolve.

 

It just seems like the bulk of consumers have reached the point where they would say every format sounds the same to them. If you accept that as a given for the majority, and assume the record companies are tracking these same opinions, then why assume they will do any different than they've done in the past, i.e. If audio quality isn't a value added commodity, then they won't spend money to provide it.

 

Until mp3's arrived, audio quality was always a value added commodity in consumer music formats. Now it holds little value because the low end of audio quality sounds the same to so many consumers as the best audio quality.

 

This isn't true in the audio-visual world, where great sound is appreciated by most everyone. (Hence the continued success of surround in movie theaters and home theaters. In those arenas it makes a huge impact.)

 

So again, if you agree this is the trend, how is the average consumer supposed to understand what it is they're listening critically for? And what will drive record companies to provide great sound at the point-of-sale?

 

Bruce, you seem pretty confident about the state of the industry after file sharing. Why?

[dman]

Good points Fantastic Sound.

 

I also think it goes back to economics too. Your average joe blow would much rather spend $300 on an ipod and have a thousand Mp3's than spend the money on a quality playback system even though the sound suffers. It's a reflection of our fast paced I want it now and cheap society.

 

Bruce I'm blown away that your here talking candidly on these forums. This is one of the best threads I've ever run across. Please stay around I for one am learning a lot. Some of your thoughts have a way of challenging some of my "assumptions" which is a good thing. Thank You

[Lee Flier]

Originally posted by fantasticsound:

First, I'd say you're making a huge assumption, Lee. You assume the massive amount of illegal file sharing was a measure of how many people would download, period. I would suggest that many people didn't download music illegally, but will gladly do so now that there are legal meanss. Just because a huge number of people showed their willingness to steal when it was easy and relatively safe doesn't mean there wasn't a much larger number of people who refused to do so.

1) Surveys done during Napster's heyday indicated that an overwhelming percentage of Internet users did download music. I can't remember the exact number but I think it was around 75%. I don't see that figure getting too much bigger now.

 

2) There have always been legal ways to download music for free, and still are.

 

Second, the AM radio analogy is flawed. Last time I checked, no one has ever been able to continuously program the content on their AM radio, from a library of music covering every type of music, speech, stand-up or book-on-tape as can be done with a personal organizer sized media player. We have never seen anything close to the level of portability and control available in the past year. Plus, as much as we denegrate the sound of mp3's, the fact is they do sound far closer in quality to high quality digital formats then AM was to even the worst albums in the 1960's and '70's.

OK, let's use FM then. Better quality, bigger selection of music during the 70's. Everybody taped stuff off the radio and made mix tapes that they carried around on boom boxes and Walkmans, and traded with their friends. Bootlegs too.

 

None of this killed off record sales.

 

And Bruce, if I'm assuming anything, it's that the record industry will continue to evolve.

Me too.

 

Until mp3's arrived, audio quality was always a value added commodity in consumer music formats. Now it holds little value because the low end of audio quality sounds the same to so many consumers as the best audio quality.

Well then maybe "the best" needs to get better, and maybe that's what Bruce is alluding to.

[Bruce Swedien]

Here's what I think!

 

I've heard the comment made, "I down-loaded so-and-so's new album, "It's great, now I can't wait to go out and buy it!" What's the key to this? Two words, "IT'S GREAT"

 

What do you folks think of the recordings that are on the radio right now? I'm not talking about technical quality.... (There's always time for that....)

 

Brucie the Viking!

[fantasticsound]

How much better do you think the best can become, Lee?

 

And again, if mp3's or other data-compressed formats begin to rule the roost then why would the average consumer care about better quality anyway? (You do remember when people readily admitted that early CD's might be clean of hiss, etc, but sounded bad compared to an album on a decent record player, right? Again, quality took a back seat to convenience. Records died a not quite slow death despite their improved sound over early CD's. )

[Lee Flier]

Originally posted by Bruce Swedien:

What do you folks think of the recordings that are on the radio right now?

Bruce,

 

Here's what I think: THEY SUCK! And I agree with you, if they get better people will buy them.

[fantasticsound]

Originally posted by dman:

...Bruce I'm blown away that your here talking candidly on these forums. This is one of the best threads I've ever run across. Please stay around I for one am learning a lot. Some of your thoughts have a way of challenging some of my "assumptions" which is a good thing. Thank You

I couldn't agree more!

 

If I haven't already said so, thank you so much, Bruce, for taking time to give us the benefit of your experience and expertise.

[Lee Flier]

Originally posted by fantasticsound:

How much better do you think the best can become, Lee?

A LOT better.

 

And again, if mp3's or other data-compressed formats begin to rule the roost then why would the average consumer care about better quality anyway?

Because it would move them more.

 

(You do remember when people readily admitted that early CD's might be clean of hiss, etc, but sounded bad compared to an album on a decent record player, right? Again, quality took a back seat to convenience.

Actually, as I remember it, most people DIDN'T think early CD's sounded like crap the first few years of their existence. I did, and you probably did too, but most people would just look at me like I was nuts when I said so. They were too enamored of the novelty of the format, the lack of noise and so forth. It took several years for anybody to really notice, and then they started to improve converters and mastering processes and all that stuff.

[DJDM]

Originally posted by Bruce Swedien:

What do you folks think of the recordings that are on the radio right now? I'm not talking about technical quality.... (There's always time for that....)

Depends on what "radio" you mean? If you mean college radio, satellite or classical radio there is some wonderful stuff out there. But if you mean mainstream radio then most of it is uninspired dreck and the complete opposite, intentionally speaking, of why I'm here.

[theblue1]

Originally posted by Bruce Swedien:

theblue1......

 

I'm really sorry that my answer came across like it did to you. I didn't intend it that way. It's just that I get all excited and start typing! Please forgive me....

 

Your motivation and your intentions are fantastic! I wouldn't want to mess that up!

 

And - I love spring reverbs! - (In their place!) We have much to talk about....

 

There - I'm bent over - You can kick my big Swedish ass whenever you're ready!

 

Bruce Swedien

No problem, Bruce. I can get caught up in the moment, too, and say things that probably read differently than I intended when I was typing them out.

 

And, actually the question about spring reverbs v. digital ones was a rhetorical question; I was thinking that folks with experience with spring and digital 'verbs would wholeheartedly think digital reverb beats spring. (Except of course in old Fender guitar amps. I've yet to hear a good spring simulation on a digital verb -- which I guess takes the whole thing back around 360 just about. )

 

But my presentation was muddled; what I was getting at wasn't clear at all. Your confusion was natural.

 

Thanks for the nice words and don't sweat it at all.

 

[theblue1]

Originally posted by Lee Flier:

Originally posted by fantasticsound:

How much better do you think the best can become, Lee?

A LOT better.

 

And again, if mp3's or other data-compressed formats begin to rule the roost then why would the average consumer care about better quality anyway?

Because it would move them more.

 

(You do remember when people readily admitted that early CD's might be clean of hiss, etc, but sounded bad compared to an album on a decent record player, right? Again, quality took a back seat to convenience.

Actually, as I remember it, most people DIDN'T think early CD's sounded like crap the first few years of their existence. I did, and you probably did too, but most people would just look at me like I was nuts when I said so. They were too enamored of the novelty of the format, the lack of noise and so forth. It took several years for anybody to really notice, and then they started to improve converters and mastering processes and all that stuff.

You may be right. And the lack of surface noise was stunning -- like the first time you heard a leadered master tape. Like the old coot who'd been listening to the 2:10 train to Abilene for 40 years and one night it's late and he wakes up at 2:10 and says "What was that?!?"

 

I do remember the first time I spent any "quality time" with a CD player. It was at a small party at an ex-landlord's house. He had a pretty decent stereo by the standards of the day, some AR-3's, as I recall, and maybe a high end Sherwood amp... and this big ass shiny new (first or second gen) Sony CD player.

 

I had been taking recording classes at a local JC (and had been a tape nut since the early 60s) and I was glued to the thing -- even though it sounded like the were running the music through a shredding machine that never got its factory-lube.

 

I listened to a range of music, rock, folk, got him to put on a little 'classical' (seems to me it was R. Wagner's Thus Spach the Z-man or some other cheezehead pick of the era). It was gawdawful.

 

Even though I was an ignorant, snot-nosed no-waver, I at least had enough class (as I remember in my no-doubt edited memories) not to share my thoughts with my pal about his new toy.

 

And, no real way of telling what others thought. I was probably the only one in danger of blurting out his real thoughts about the $600 or so device (a lot more dough back then than now, of course).

 

But they were still partying when I gave my grieving ears the air.

[fantasticsound]

Originally posted by Bruce Swedien:

...What do you folks think of the recordings that are on the radio right now? I'm not talking about technical quality.... (There's always time for that....)

 

Brucie the Viking!

Well.. I hardly listen to music on the radio anymore. I bring CD's in the car (almost none of which are new music, unless it's from friends' or professional acquaintances' bands) and listen to Nashville Public Radio 90% of the time my radio is in use.

 

What I have listened to I like some, dislike more. I listen to a lot of country music when I do listen to music on the radio. There is a wide void between the best music in this genre and the rest. Great songs by great writers and.. dreck by the same writers.

 

The sound quality is fine, but rarely inspiring. And it isn't the sound quality itself, actually. Mostly it's the arrangements and performances. The best jump out of the speakers, whether a quiet ballad or a swingin' upbeat number. But too much of what I hear is underwhelming.

[Bruce Swedien]

Hey Everybody!!!!

 

Check out the review of my book in the January 2005 issure of EQ Magazine. Its on page 6.....

 

Im very proud!

 

Brucie the Viking!!!

[Angelo Clematide]

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