Just try playing along on bass. LOL
I did get the hang of it, but it's almost like playing with someone like Willie Nelson, who's vocal phrasing never shook hands in time with a beat in his life.
Music
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Just try playing along on bass. LOL
I did get the hang of it, but it's almost like playing with someone like Willie Nelson, who's vocal phrasing never shook hands in time with a beat in his life.
I gave it another listen. I can maintain the 2-beat measures but that drag on the drums every other measure seems designed to do nothing but break up any semblance of a natural flow. My ears don't work like that.
Ah, well, I've always had certain blind spots when it came to music. For example, I could never read tenor clef. I tried. Lordy, I tried. I just could never grok the idea of moving the notes around on the staff like that. It was like asking me to transpose in real time, something else I could never do.
With those admissions, it's pretty clear that I could never have cut it as a professional musician. I think my high school band director knew that, too. He got me a slot with a semi-pro band in San Antonio the summer after I graduated high school. These were teachers and pros who were between jobs, musicians just keeping their chops honed between gigs.
Even though they weren't absolutely top shelf, after two rehearsals I looked around, realized I was, by far, the least talented person in the room, and put down the bassoon. I never picked it up again.
So not being able to easily follow a tricky bass and drum line behind a country tune of modified sensibilities is no surprise to me.
FireInTheWire
Caprock Crusader
FireInTheWire
Caprock Crusader
FireInTheWire
Caprock Crusader
One of my all-time favorites - Laurie Anderson doing Language Is a Virus.
This is the perfect illustration of the way YouTube can rob a song of everything that makes it good. I'm putting this video here only because I want to make a note of it. Via YT, this song is just "Blah!"
However, if you've ever heard the 12" 45rpm single on a good sound system, this piece is amazing. There's so much going on, especially down low, that it sounds completely different. It's a slight exaggeration to call it "life-changingly-good" but, if you're into having a killer stereo like I once was, merely "revelatory" is a woefully understated adjective.
If you crawl used record bins, this should be on your want list.
This is the perfect illustration of the way YouTube can rob a song of everything that makes it good. I'm putting this video here only because I want to make a note of it. Via YT, this song is just "Blah!"
However, if you've ever heard the 12" 45rpm single on a good sound system, this piece is amazing. There's so much going on, especially down low, that it sounds completely different. It's a slight exaggeration to call it "life-changingly-good" but, if you're into having a killer stereo like I once was, merely "revelatory" is a woefully understated adjective.
If you crawl used record bins, this should be on your want list.
Nothing in the sound reproduction media world that equals the sound of a 12" vinyl single at 45 rpm - both high end and low, and everything in between, with dynamic range to boot.
And especially if said 12" single was mastered from a 16 track, 2" analog machine, running at 30 ips. Can't beat the solid, tight low end response recorded from that 16 track width and speed; and the high end response of the 45 rpm vinyl disc when reproducing a project.
Before digital, and on a project that had hit potential, we used to try and track the rhythm tracks on a 16 track 2" machine, and synced to a 24 track 2" for everything else; and we'd go to the expense to master a demo single of the best song or two to 12" vinyl.
If that didn't get your attention, nothing would.
I agree but can we agree this is a bit debatable?
I have a couple of good tape decks and lots of label-recorded albums on tape (i.e., not dubs).
Ultimately, I think 12" 45s win but when it comes to super sound made easy, I still love tape.
So do I ... Note that the genesis of the recordings I mentioned were indeed done on analog TAPE.
A first generation tape recording has an astounding frequency response on the machines I mentioned above when first recorded, way above what the human ear can hear. But, I've always been one of those who is convinced that those high, third order harmonics, present in those tapes do indeed color what you ultimately hear on playback, and that is why they sound so good to the average listener.
The problem is that each succeeding tape generation from the master suffers from generation loss. There is NO way around that in the analog domain, it is a matter of physics.
You might like the sound you hear on those "label-recorded" tapes, but even at best they are second generation reproductions, with a built-in and attendant loss in frequency response, particularly on the high end; most are indeed high speeds "dubs".
Record companies don't make recordings for audiophiles as a rule, otherwise there would be no digital content for sale considering the limitation of the Nyquist frequency in CD recordings.
An RIAA curve applied correctly in a vinyl recording in both recording and playback should be linear, with the higher frequencies usually better in the 12" single than on a second generation tape, and a much tighter bottom end.
That is why we made demos in the 12" single format if the project justified the expense.
That said, sound is subjective, dependent on the playback equipment and the environment in which is listened to.
For a real treat, you want to hear the original, multi track tape recording, played back on the same machine it was recorded on, and in the same studio environment and speakers it was mixed on.
Until you've heard that, you are just guessing as to how the original sound was supposed to be.
Then again, the song is the coin of the realm ... those old Hank Williams tunes will never reach the frequency response and dynamic range of modern recordings ... but they are so good the productions values don't make a tinker's damn in the listener.
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I've noticed that. I hate cleaning a stylus, setting up tonearms, and keeping records clean. That's why I said tape was "super sound made easy."
But when you're right, you're right.
I've got some 2", I-have-no-idea-how-many-track masters of rap records that I got when a local studio went out of business. I have no idea what's on them. Occasionally I have a conversation like this that makes me wonder.
Then I calm down and the feeling passes.
