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Cory Wong / Dave Koz - Getaway Car


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Very tight. The sound is almost too perfect to be recorded live. Love the bari sax solo. It's processed through something but I don't see any device around it so it must be through the board. Dave Koz's sound is also processed. They're both playing into stand mics. At one point in Dave Koz's solo (about 2:53-2:54) he holds a note but moves far away from the mic and even takes his mouth off the horn but the volume of the note never changes. I'm not necessarily critical of this, just commenting. But something about presenting the video as if it's live feels off to me. Maybe I'm just not sophisticated about how advanced the technology is for recording live playing. Either that, or the playing is faked to a recording.
These are only my opinions, not supported by any actual knowledge, experience, or expertise.
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"Maybe I'm just not sophisticated about how advanced the technology is for recording live playing."

 

Good players playing live in a recording studio sound like that, when the recording is properly mixed. Look at the drummer. I can't imagine he'd relearn all those little fills just to be able to mime to a recording.

 

 

 

"Love the bari sax solo. It's processed through something but I don't see any device around it so it must be through the board."

 

Yep. Along with all the compression, EQ, and reverb, there's no reason that they couldn't have added the overdrive and auto wah during mix down.

 

 

 

"Dave Koz's sound is also processed."

 

I'm listening on studio monitors and I'm not hearing anything unusual in his sound.

 

 

 

"At one point in Dave Koz's solo (about 2:53-2:54) he holds a note but moves far away from the mic and even takes his mouth off the horn but the volume of the note never changes."

 

They surely filmed the performance many times so they could get multiple camera angles for however many camera they had. The band played to a click, and they picked the best audio performance and used the associated video for most of what you see. But when they didn't have a good camera angle, they switched to a different take. In this case, it was a bad choice, because it's obvious.

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Definitely a Frankenstein vibe going on. In this case I would prefer hearing the baritone sax without the over the top uncontrolled wah wah effect. I see that sort of thing praised a lot in a jazz / smooth jazz context but it is cheesy. It equates to a singer just hamming it up or a musician doing a physical schtick which has nothing musical about it. A sort of similarly over the top wah wah effect on the keytar did work in Frankenstein though, perhaps because it is controlled.

 

I like how the protocol is dress anyway you want but it just has to be black and/or white. The drummer with the cool white shades and the GRAY T-shirt represents the link bridging all the skill in the room.

 

 

That "Dave Koz's solo (about 2:53-2:54) " is consistent in the two different camera angles at that point in time. If they shot film of more than one performance they used two clips that were part of the same take but not part of the audio take. You would think they had the cameras in the same positions for the different takes and had at least one angle of the two that they could have used but apparently not.

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I don't mean to argue with you. I think of these posts as some musos sitting around the pub hoisting our beverages of choice, but ... :)

"Love the bari sax solo. It's processed through something but I don't see any device around it so it must be through the board."

 

Yep. Along with all the compression, EQ, and reverb, there's no reason that they couldn't have added the overdrive and auto wah during mix down.

Ok, so we agree on that

"Dave Koz's sound is also processed."

 

I'm listening on studio monitors and I'm not hearing anything unusual in his sound.

I do. I'm a sax player. Given that the bari sax is processed, why wouldn't the alto sax also be? And the entire recording sounds processed to me. Yes, compression, EQ, reverb. That is not the natural, acoustic sound of an alto sax, nor of the horn section and all the other instruments.

 

"At one point in Dave Koz's solo (about 2:53-2:54) he holds a note but moves far away from the mic and even takes his mouth off the horn but the volume of the note never changes."

 

They surely filmed the performance many times so they could get multiple camera angles for however many camera they had. The band played to a click, and they picked the best audio performance and used the associated video for most of what you see. But when they didn't have a good camera angle, they switched to a different take. In this case, it was a bad choice, because it's obvious.

Yes, this is my point. They did not video that entire performance live. Even if they "picked the best audio performance and used the associated video for most of what you see," you are not watching a video of the same performance that was recorded live. Some of the video may be of the same performance, but not all. It doesn't matter, it's still killer, it's just that's what I was experiencing as I watched and listened. There's something very special about watching a filmed performance that you know and feel in your bones that you're watching the performance as it actually happened, the same way you feel when you listen to an audio recording that you know was captured as it happened live. I'm an old live music purist. And you kids get off my lawn.
These are only my opinions, not supported by any actual knowledge, experience, or expertise.
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A sort of similarly over the top wah wah effect on the keytar did work in Frankenstein though, perhaps because it is controlled.

 

It was also new at the time

Whenever you find yourself on the side of the majority, it is time to pause and reflect.

-Mark Twain

 

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