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similar to P. Barber’s “Live: A Fortnight in France” recording quality. I was listening to it for the first time last night the sounds that I have heard coming from it was a revelation, beguiling and involving. Having said that, in my mind it simply put all those digital vs. analogue sounds argument aside without any prejudice.BTW, I was listening to the cd version.
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I am wrestling with getting the vinyl, I bet it is awesome.I often wonder the same question. The differences between something like the recent Knopfler/Harris LP and some others is sad. I guess it comes down to how much the artist cares.
Not all musicians are vocalists and what works best for that situation doesn't necessarily work the best for others. I am not a big Patricia Barber fan so I am not terribly familiar with the sound of her records, but what I recall is that they are quite close-miked and forward sounding. For some this is a turn-on and it sounds very intimate and for others this is unrealistic and a turn-off. Of course my memory could be wrong but in any case not everybody (nor everybody here) would agree on the same sonic ideal.The likelihood of artists having control of the recording process goes way up when you look away from the major labels. Most emerging artists produce their first few records (including releases on smaller labels) and therefore are in control of the recording process whether that involves delegating decisions to engineers of their choice or making decisions themselves. Musicians' taste in sound is as varied as that of audiophiles.
What are recording credits on that CD? Someone had to provide and operate professional recording equipment (microphones, digitizer, mixer, playback amplifiers, monitors). If Patricia Barber did it all by herself, that would be extraordinary...Artists need sound engineering and production services, and there is no way around that. Traditionally, those services were provided by big record companies. Nowadays there are many small companies that can do the job as well and for less money, and artists are contracting these companies to bypass big labels. This positive trend increases the diversity of recorded music. Big companies tend to promote their arbitrarily chosen "stars" and to deny contracts to many worthwhile artists.
The newest collection from our beloved Patricia Barber was recorded live in three venues during her 2004 European tour (L’Arsenal in Metz, La Coursive in La Rochelle and La Cigale in Paris). The album showcases the pianist/vocalist’s songwriting on five new originals and interpretive skills on "Laura," "Witchcraft," "Call Me," and "Norwegian Wood." As you would expect, the sonics are just as stunning as the performances. The bass playing of Michael Arnopol is incredible and recorded impeccably. Neil Alger’s guitar playing is his best work to date and really stands out in his solos. Drum work by Eric Montzka suits the band perfectly. Barber’s singing and playing are tremendous, and through her arrangements, allows the band to truly express themselves.
If you think that the cd is stunning, check out the dvd, it is out of this world and to see this band in action is fabulous.
I also like Patricia sense of humour, and the fact that she drinks Cognac.
I did not know that I'll put that on my list.
Also, The Pat Metheny Group's "The Way Up - Live" is musically, sonically, and visually stunning as well.
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"Whoever undertakes to set himself up as a judge of truth and knowledge is shipwrecked by the laughter of the gods." - Albert Einstein
...at her official website.
JL
1. Most musicians wouldn't know good sound if it came up and bit them on the ass.2. Most musicians do not have control over the sound of the final product. Some do, most don't. The suits at the record company do. If they want to take a finely crafted, transparent, dynamic two-track master and EQ it to death before slamming it into digital clipping on a constant basis, then that's how it will be released.
I have a feeling, though, that you meant "record companies."
If so, there are two reasons here, too.
1. Most record company suits wouldn't know good sound if it came up and bit them on the ass.
2. They are aware of studies that show that while in their cars a majority of listeners will stop scanning and stay tuned to the loudest presentation.
Any good ones we get are rare, and will continue to be, alas.
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