Marvel Posted July 14, 2015 Share Posted July 14, 2015 A lot of folks seem to think Ray Charles hated digital recording, but the engineer who did most of his later work would say no. There were things he didn't like about it, but the link below, with an interview of the engineer is rather enlightening. Bruce http://www.emusician.com/artists/1333/recording-the-genius/36640 1 Quote Link to comment Share on other sites More sharing options...
oldtimer Posted July 14, 2015 Share Posted July 14, 2015 There is a commenter on the broadcast of USA v Panama named Julie Stewart-Binks. Do you think she is related to Jar jar Binks? Quote Link to comment Share on other sites More sharing options...
Marvel Posted July 14, 2015 Author Share Posted July 14, 2015 Do you think she is related to Jar jar Binks? They're cousins... Quote Link to comment Share on other sites More sharing options...
Sancho Panza Posted July 14, 2015 Share Posted July 14, 2015 Love the movie Ray. Quote Link to comment Share on other sites More sharing options...
CECAA850 Posted July 14, 2015 Share Posted July 14, 2015 There is a commenter on the broadcast of USA v Panama named Julie Stewart-Binks. Do you think she is related to Jar jar Binks? Most definitely not. Quote Link to comment Share on other sites More sharing options...
Chris A Posted July 14, 2015 Share Posted July 14, 2015 (edited) ...but the link below, with an interview of the engineer is rather enlightening. That was enlightening. It also tells me what the DAW software tools are doing (or, rather, not doing) that causes the users to insert "dither" noise into each channel to keep divisions by zero from occurring. Not cool. Also, using so many channels (more than 32) seems like subdividing the performance into oblivion so that the performers themselves can't balance or react to each other. In any case, I'm not a fan of so many channels even though guys like John Eargle did it a lot. I understand the consequences of fewer channels, and that is, well, you've got to accept the performance as the musicians played it a great deal more. Other than that, the comments about the studios complaining that their (Ray Charles') mixes were too quiet - well, that's not a revelation, but it does make me shake my head, once again, on the ignorance of the technical decision making within the music labels. That's why we have "Loudness Wars" instead of hi-fi recordings. Chris Edited July 14, 2015 by Chris A Quote Link to comment Share on other sites More sharing options...
jacksonbart Posted July 14, 2015 Share Posted July 14, 2015 Get over the CD, HD digital tracks are where its at. "Vinyl's absurd" Paraphrasing from Marc Cohn, "Don't you give me no BuickGirl, you must take my wordIf there's a God up in HeavenHe's got a silver ThunderbirdYou can keep your El DoradoMan, the foreign car's absurdMe, I wanna go downIn a silver Thunderbird" Its all about the music. Cheers Quote Link to comment Share on other sites More sharing options...
Marvel Posted July 14, 2015 Author Share Posted July 14, 2015 Chris, I thought you might enjoy the article/interview. I've heard some mixes that were done 'in the box', that sounded really good, but they were usually things with very few channels/tracks. More acoustic/jazz oriented. I'm guessing the movie guys mixing a couple hundred tracks for all the Foley work and dialogue aren't mixing in the box but through a console with automation. Bruce Quote Link to comment Share on other sites More sharing options...
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