Mallette CD Distribution

[alliclaytor]

Due to the popular demand of the Mallette Recordings. Dave
has made 30 copies of four recordings to be passed out at the pilgrimage. The
four recordings are "Stewart Wayne Foster: In Recital", "Dallas
Camerata in Concert", "A Peasant Celebration by The Hubbard Chamber
Music Ensemble" and "Asylum Street Spankers." One issue I have
is determining how to distribute because I am sure more than 30 people will
want copies. Dave has specifically asked that a few people get copies and that
they get as much playing time in the "listening rooms" as possible.
So if anybody has any legitimate ideas please let me know. The main goal of
this venture is for Dave to get some constructive criticism on his methods of
recording...so if you are interested just to listen and not comment please pass
on this opportunity.

[LarryC]

I probably would be interested in hearing the Camerata if I get a chance. I'm not an expert in recording technique, but would be glad to comment if that's the price of admission...

[alliclaytor]

I don't think anybody here is an "expert" in recording technique...but from what I understand Dave would like to get the "average audiophile's perspective" if there is such a thing.

[Mallette]

It may not be clear that there are 30 copies EACH of the 4 discs.

I don't think anybody here is an "expert" in recording technique...but from what I understand Dave would like to get the "average audiophile's perspective" if there is such a thing.

Nonetheless you guys are the ultimate (IMHO) "I know what sounds good" ears. If I thought I was the ultimate recording engineer I wouldn't be interested in your opinions. As I've said publically before, I am quite mystified as to why my stuff seems to sound so good made with nothing but odds and ends.

All are quite different material under very different circumstances. I hope to have time to get more info up on the mbsdar.com site before the event as I had neither the time nor resources to provide technical and artistic info with the discs.

Dave

[thebes]

If you could pass one of the Spankers onto Larry for distribution to me when he returns, I would be glad to go and on and on and on and on about the what I would discover.

Indeed, I could talk and talk and type and type but that would be redundant. []

[LarryC]

from what I understand Dave would like to get the "average audiophile's perspective" if there is such a thing.

I'm probably average or thereabouts, so I'll take a Camerata CD, and bring back the Spankers for Marty for the Twins to help him interpret.

[Mallette]

I want maximum dissemination, so I've no issue with someone getting more than one copy as long as the extras are going to known forum members of good standing. OK, now just how THAT is determined I shall not attempt...

I just want to be sure none wind up with itenerant house painters or people with a fetish for twins.

Dave

[jt1stcav]

I'm curious...for those of us who can't make the pilgrimage, is there a way we could purchase the 4 copies at a later date? I wouldn't expect freebies because...well, someone's gotta pay for the discs and the time spent burning them. I'm willing to spend some dough on extraordinary recordings and give my two cent's worth in a review.

[Mallette]

Jim:
Sadly, no. It would cost me more than I could make at the moment to arrange royalties, copyright clearance, duplicating, printing, etc, etc. to sell. I can only give them away.

It is my hope that in a couple of years I'll be in a position to be able to record and distribute. For the moment, I got to stay in the harness with my day job whilst the wife gets her revenue engine reved up.

Dave

[jt1stcav]

Dave,

I received the discs in the mail yesterday; they all arrived in great shape. I fired up my 300B SET amp and let the bottles warm up a bit before playing the first of the set:

1. Stewart Wayne Foster: In Recital, the Dedication of the John Scott Memorial Grand Piano at The Episcopal Church of the Annunciation: From an average listener's standpoint, this recording is every bit as good as any from such big time labels as Dorian or Chesky (IMHO). The piano is properly miked so its full frequency spectrum is fully capitalized, which includes the natural ambiance of the room as well (in essence a sounding board in itself). Close miking properly placed allows the instrument to sound brilliant, dynamic and true, regardless of any squeaks or groans a mechanical device such as this will generate while being played...IMO those extraneous noises (what few are there) are what makes the piano come alive. Overall, this is an exceptional recording to my ears.
2. Dallas Camerata In Concert, James Rives-Jones, Music Director: The wind ensemble recorded here has a different tonality to my less-than stellar ears. Maybe it's different mics, their placement, or the recording equipment/bit-sampling rate is different from the Foster piano recording...although imaging and soundstage are present, it's just not as dynamic or open sounding as the first disc I auditioned. It's almost as if the recording is somewhat congested or chesty sounding. Maybe it's my playback equipment, I dunno. It's not a bad recording by any stretch of the imagination, just different (a thicker sound to me...I'm afraid the more I try to describe the differences I'm hearing, the more this critique will come off as sounding like a bad review, and that's not the case at all).
3. A Peasant Celebration, The Hubbard Chamber Music Ensemble, Michele McDonald, Artistic Director: This recording sounds every bit as lively and dynamic as the Foster recital! I can only assume the mics used are the same (or similar) as those used in the piano concert. Definately not chesty or heavy sounding, the instruments here shine; they're clear and exceedingly detailed! Imaging and soundstage are eerie acurate; placement of each musician is clearly defined to my ears...this recording is also extremely enjoyable to listen to thru my Klipsch RB-75s and SET power amp!
4. Asylum Street Spankers: 8PM Show, Volume 1, Saxon Pub, Austin, Texas: Another excellent live recording...love the naturally dry acoustics of the pub, the tinkling of glasses and the yammering of the well-intoxicated crowd, plus the instruments sound spectacular...the bar was transported into my listening room (without the spilled drinks or the stale smell of cigs lingering in the air)! Only flaws I could detect I don't think were the fault of Dave or his equipment...the 60 cycle buzz to the left that was always apparent throughout the gig from either the florescent lights or the PA equipment, and some of the singers (the female in particular) were somewhat drowned out by the instruments themselves, due to maybe improper on-stage monitor levels. Regardless, this is yet another fine example of Dave's recording method and his Virtual Presence technique!

All I can say is bravo, Dave...bravo![*][*][*][*][*]

[gonzp]

Great write up Jim! I would sure like to hear the recordings!

[oldtimer]

Count me in if possible. Pm me for mailing details.

[Mallette]

>...it's just not as dynamic or open sounding as the first disc I auditioned. It's almost as if the recording is somewhat congested or chesty sounding.

I once asked a highly regarded (and expensive) photographer his secret.

1. Film is cheap...take LOTS of exposures.

2. Never let anyone see your mistakes.

In the case of Camarata, I've not followed that advice. The love of that Mozart serenade got me, I guess. That one is about as good as conditions would have allowed, but after it I told the Camarata folks I really wanted to record them, but not in that place again. It is a Lutheran church on a busy street with barely acceptable acoustics under the best of conditions. The traffic and a buzz from flourescent lights take it over the line to poor. Then add the late maestro Jones (he passed away last fall) habit of singing and dancing along with the band at it is an impossible situation. I miked very high over the conductor and at an angle to place all sources 10' plus or minus a couple from the mikes with the back lobes (ribbons) up in the cieling to eliminate the room and the maestro as much as possible. As Jim observed, however, you cannot make a silk purse from a sow's ear so I've decided since then to simply not try such things again. As my philosphy is that the space is as important as the music it makes no more sense to record in a less than fine space than to record poor musicians.

There was, indeed, a buzz in the left channel from a neon sign during the Spankers. Nothing to be done as the management, while polite enough, had no horse in my race so I made no demands at all on them. All I had inside were the mikes and I had the machines set up in the back of a van outside the stage door. Place was totally SRO. As to the balance, it is as it was. They take a bit of criticism both from the audience as well as the press for this but absolutely refuse to use even a vocal mike. They are rabidly acoustic and probably would perform in the dark if they could.

I really appreciate Jim's comments and they are accurate, or at least in line with my own views. Foster was live, but I had complete control of the situation as it was my church so was able to set up as I wished. The Peasant disc was one of my few paid gigs with no audience present. The biggest challenge where as adhereing to my "it's about the music, not the recording" philosphy. They move their setup and positions for every piece requiring mike repositioning on the fly. There are two issues here. One, getting the mikes placed for accuracy, and two, attempting to maintain some sort of sonic consistency since you cannot see the fact they've move around. As no one has every commented on that, I assume it worked out.

The warm reception to my work from this most critical and educated set of forum ears has inspired me to get going again. It will take a while given my work and family commitments, but the PAW is supportive and I am looking at ways to begin to penetrate the Houston music scene. I was rather shocked to find that the 4th largest city in the US appears to have no dedicated music critic. That is a realy shame and hickey on this city. However, the local NPR station is very vested in the local music scene and I am looking at ways to use them synergisticlly in makeing entre to the community.

Regards,
Dave

[Daddy Dee]

I want maximum dissemination, so I've no issue with someone getting more than one copy as long as the extras are going to known forum members of good standing. OK, now just how THAT is determined I shall not attempt...

Dave

Yeh, forum members of good standing... one of those things.... it's hard to define, but you know it when you see it. []