Mass Transit's review thread is locked

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Mass Transit's review thread is locked

Postby dmhjr69 » Tue Jun 15, 2004 11:12 pm

...so I wanted to respond.

zachwalker wrote:A couple of factual errors should be cleared up with regards to Jevan Soo's review of this album.


This statement can actually be applied to several other reviews of his as well.. Jevan made remarks about the last CD I was on that was submitted to RARB, and I'm not sure where his remarks came from either...

Jevan Soo wrote:Subpar production and uncreative arrangements of a cappella staples (Take 6's A Quiet Place...)


Yeah - there are many people that would say that Mervin Warren's arrangement of "A Quiet Place" is "subpar"... And there are also many 8-member collegiate a cappella groups out there pulling off "A Quiet Place" (especially at Universities without a music major!!!)

Jevan Soo wrote:the Banner should open ballgames, not CDs


Not gonna touch this...

Also, not sure I'm going to put much weight into what Mr. Soo has to say... but that's just me (that's ok, isn't it...?)

Just my 2 cents...

:-)
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Postby Nick Lyons » Wed Jun 16, 2004 8:21 pm

A Quiet Place... not easy, no matter who's arrangement it is. It's less of an "arrangement" and more of a project.

The Grains put forth a great effort. They won't ever be able to escape the white boys syndrome but this is probably the closest they will get.

Any group that covers Chanticleer and Take 6 successfully... ummm, yeah... Not easy.

Nick

PS Mark is drunk
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Postby dmhjr69 » Wed Jun 16, 2004 8:57 pm

Never been drunk in my life - wouldn't know what you're talking about... ;-)

On that note - I think Nick is a wonderful person, and I COMPLETELY DIG LIQUID-COOLEED PROCESSORS!!!

I also think 'Dio should be allowed to post on this board, regardless of the bullsh#t perceived by the people that want to keep this board as politically skewed as possible (in their favor...). Sorry guys, but everything he had to say was typically true, whether it agreed with you or not...

Rock on 'Dio, and Nick, and liquid-cooled processors...

Out!
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Postby sparkleytone » Wed Jun 16, 2004 8:59 pm

Mark...drunk? NOOOOO!

How do you arrange and not transcribe something by Take6 anyway? Its pretty much perfect the way it is. The reason to do something like that is because you CAN, not because it needs to be some crazy new arrangement.
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Postby billhare » Wed Jun 16, 2004 10:51 pm

This talk of "A Quiet Place"reminded me of a nice version I worked on with the Stanford Mendicants in 1997. This was done to TAPE - no ProTools, no AutoTune, no editing except on-the-fly punch-ins. Just pulled out the CD (Mendicants 1997-98: Besides What You See") and it sounds as nice as I remember it, so just for fun, I'll share!

The guy singing the lead (Brandon Singleton) is currently playing the role of "Simba" in the San Francisco run of "The Lion King".

I'll keep this up for a couple days...

http://www.dyz.com/mendies

-B

Bill Hare Some dude who records and mixes people who can't play instruments. http://www.dyz.com

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Postby dmhjr69 » Thu Jun 17, 2004 6:02 am

To the best of my knowledge, 'autotune' has never been used on a Grains of Time album... Minor pitch corrections here and there, but no autotune.
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Postby billhare » Thu Jun 17, 2004 10:12 am

g money wrote:WOW. Mendicants in 1997? No Protools? Did you do many tape cuts bill?
How long did they track for this? gah!

WOW. I'm floored...back to my world where huge chords do not get sung in tune.


No tape cuts since I would have been using ADAT at that time, and other than that I don't have much memory of the sessions themselves. I don't believe that we did it part-by-part as we might do these days, that all the singers were in the booth simultaneously. I think there were 8 singers, and we probably triple-tracked judging from the sound of it - I would have had 32 tracks at that time, so it's most likely we did. I do know it was one of the first times that I ever used a midi track taken from the score as a cue, rather than a click track from a drum machine and maybe a piano pitch reference. Getting the tempo dynamics was tough - I recall a 16th note click that sped up and slowed down in really funny ways, but "followable" enough to work, and we were really happy with the results. The main thing was, these guys could pull this off live, so 95% of the battle was won already before they ever hit the studio. I'd be surprised if there were more than 4 hours dedicated to this whole recording, from basic tracks to mix - we just didn't have as many options in those days (the first whole Beatles album was recorded in 12 hours - can you imagine that? One day in the studio, and your whole album is finished?? Those were the days...)

Before the ADAT, I used 24 track analog, and before that 16 track analog - both using 2 inch wide magnetic tape (those reels weighed about 15 pounds each!) When I started doing A Cappella stuff in the first couple years of the 1980s, it was very rare to spend more than $1,500 or so on a whole album! Again, not much you could do with it, so it was all about performance, not the effects or the mix - we didn't have automated mixing either, so your best bet was to get the faders all to one place where it sounded best, and as the tracks were being played back you'd have another machine recording the result. You could move the faders at certain points, but if you messed up, you'd have to rewind both machines and start over. After several "practice" mixes, you'd have something that was "close enough", a mindset that doesn't exist today in this sometimes "overmixed" world. Not that I'd go back, mind you - I love my 21st Century toys! ;-)

-B

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