Creative Caffeine: Nashville Recording Studio

Tradition is good, tradition is important. But just as no one expects rock ’n’ roll albums today to sound like the Sun and Chess records of the genre’s 1950s pioneers, the sonic tastes of bluegrass fans have evolved considerably since the seminal ’40s and ’50s recordings of Bill Monroe and the Blue Grass Boys, Flatt & Scruggs’ Foggy Mountain Boys, the Osborne Brothers, the Sunny Mountain Boys, Ralph and Carter Stanley, and all the other greats who helped define the style. True, there is a certain romance to the gritty mono recordings that were usually cut with just a couple of microphones direct to disc: You can sometimes hear the fiddler or guitarist or mandolin player actually leaning in towards the mic for a solo, and you can feel how the band as a whole balances itself from moment to moment, both in relation to each other and with the soaring vocal harmonies that rise above the instrumental conversation of the ensemble. Good as those recordings might sound—and with today’s restoration techniques, many of them have literally never sounded better—they tend to be light on bass and guitar, somewhat imprecise on both the upper and lower registers of the mandolin, occasionally too ring-y on certain banjo notes, and lacking the ambient “air” that modern ears appreciate.

Full Article:
Recording Bluegrass Instruments Online Extra | Read the Full Recording Bluegrass Instruments May 2008 Mix Article

Music labels can breathe a sigh of relief after a jury concluded that sales through digital download stores like iTunes should be treated like CDs for the purposes of paying royalties.

Eminem’s former production team, F.B.T. Productions, sued Universal over the issue in 2007. The brothers behind F.B.T. claimed that, when Universal provided music to stores like iTunes, it was actually “licensing” the tunes to another distributor rather than distributing them itself.

The distinction makes a huge difference in the royalty rate: Eminem received a 12 percent royalty on CDs, which Universal distributed, but a 50 percent royalty whenever the music was “licensed.”

read entire article:
Eminem producers lose bid for massive iTunes royalties – Ars Technica

The Sizzling Sound of Music – O’Reilly Radar

Are iPods changing our perception of music? Are the sounds of MP3s the music we like to hear most?

Jonathan Berger, professor of music at Stanford, was on a panel with me at a meeting of the American Academy of Arts and Sciences in Mountain View, CA on Saturday. Berger’s presentation had a slide titled: “Live, Memorex or MP3.” He mentioned that Thomas Edison promoted his phonograph by demonstrating that a person could not tell whether behind a curtain was an opera singer or one of Edison’s cylinders playing a recording of the singer. More recently, the famous Memorex ad challenged us to determine whether it was a live performance of Ella Fitzgerald or a recorded one.

Berger then said that he tests his incoming students each year in a similar way. He has them listen to a variety of recordings which use different formats from MP3 to ones of much higher quality. He described the results with some disappointment and frustration, as a music lover might, that each year the preference for music in MP3 format rises. In other words, students prefer the quality of that kind of sound over the sound of music of much higher quality. He said that they seemed to prefer “sizzle sounds” that MP3s bring to music. It is a sound they are familiar with.

I remember wondering what audiophiles were up to, buying extremely expensive home audio systems to play old vinyl records. They put turntables in sand-filled enclosures with elaborate cabling schemes. I wondered what they heard in that music that I didn’t. Someone explained to me that audiophiles liked the sound artifacts of vinyl records — the crackles of that format. It was familiar and comfortable to them, and maybe those affects became a fetish. Is it now becoming the same with iPod lovers?

Our perception changes and we become attuned to what we like — some like the sizzle and others like the crackle. I wonder if this isn’t also something akin to thinking that hot dogs taste better at the ball park. The hot dog is identical to what you’d buy at a grocery store and there aren’t many restaurants that serve hot dogs. A hot dog is not that special, except in the right setting. The context changes our perception, particularly when it’s so obviously and immediately shared by others. Listening to music on your iPod is not about the sound quality of the music, and it’s more than the convenience of listening to music on the move. It’s that so many people are doing it, and you are in the middle of all this, and all of that colors your perception. All that sizzle is a cultural artifact and a tie that binds us. It’s mostly invisible to us but it is something future generations looking back might find curious because these preferences won’t be obvious to them.

On a related note, a friend commented recently that she doesn’t understand why people put up with such poor sound quality for phone calls on cell phones, and particularly iPhones. “I can hardly hear the person talking to me,” she said. “I don’t think smart phones are making any improvement to the quality of the phone call,” she added. “Is it not important anymore?” She wondered why people accepted such poor quality, and so did Jonathan Berger, but a lot of people just don’t hear it the same way.

Friends and family announced the death of Compact Disc — familiarly known as “CD” — this week. Its remains were said to be scattered over a few dozen remaining retail stores that continued to stock CDs. It is survived by millions of MP3s and thousands of vinyl LP records, which were themselves long thought to be missing and presumed dead.

Compact Disc was born in 1982 in Germany, after some years of gestation in the Netherlands. It first appeared in retail form in the form of Billy Joel’s 52nd Street on Oct. 1, 1982.

CD led a long, expensive and uproarious, if sometimes quarrelsome, life. It was never happier than when accidentally dropped on a hardwood or tile floor. It was then eager to make a disheartening noise upon striking the floor and springing open, scattering all its many pieces across the floor.

The cause of death of Compact Disc was said to be irrelevance. Symptoms of that lingering malady had become more noticeable of late. No memorial services are planned at this time.

Entire Article:
CMT : News : NASHVILLE SKYLINE: Death of CD Confirmed

The Nashville Potato Guns recording their upcoming release… wow!  Wait till you hear these guys!

(more…)

One of the sweetest sounding mics in history!  Available for your sessions at Creative Caffeine.

Guns N’ Roses fans who have waited 17 years to hear the rock band’s new album are mere hours from having their patience rewarded with a free Web debut before it goes on sale next week.

Guns N’ Roses’ Chinese Democracy will make its debut on the band’s MySpace page starting Thursday, according to a Reuters report Wednesday. Fans will be able to stream the album for free before it goes on sale Sunday in an exclusive deal with Best Buy. Listeners, however, will not be able to download tracks from the site.

Full Article:
Guns N’ Roses album to debut on MySpace | Digital Media – CNET News

MySpace Link:
www.myspace.com/gunsnroses

John Lennon shows off new automated console. Sean sits by his side.

John Lennon (with son Sean) shows off the new automated mixing board at New York’s Hit-Factory, 1980. “It looks like he’s turning Sean on to the world of music,” says photographer Bob Gruen.

Full Article:

Great Singers In the Studio and Behind the Scenes : Photos : Rolling Stone

(more…)

Our good friend Dave Shipley(Foxwood Mastering), brought us about 12 more John Hartford 2″ tapes today for transfer into pro tools.  These are more tapes from the Aereoplane sessions as well as some later 80s sessions.  I am blown away by the sheer quantity of all of these recordings… “just keep the tape rolling”  was definitely the idea.