Dennie said:PAULY! :angry-tappingfoot: DO NOT READ THESE.........
:eusa-whistle: Temptation ... un-resisted.
Dennie said:PAULY! :angry-tappingfoot: DO NOT READ THESE.........
Dennie said:PaulyT said:
Wow, and I could get it used on amazon for the bargain price of $49.99! :scared-yipes:
Or, I could sell you my copy for $48! :teasing-neener:
But my copy is one of those big ol'Black Vinyl thingys! :dance:
Dennie
Great Info SH!soundhound said:Enoch Light was really second only to Les Paul in his drive to innovate in recordings. His recordings were always very clear, dynamic, and made use of the natural acoustic space in a studio which had very live (for a studio) acoustics. He was concerned with not only what a microphone was picking up as its primary source (the instrument), but as importantly, how that microphone was picking up the other instruments in the studio. Every microphone in the studio served a dual purpose of picking up its primary instrument, and also picking up the sound of the other instruments (each of which had its own microphone) in a way that yielded a very rich quality to the sound. This is in contrast to the practice today where each microphone is intended to capture the sound of its instrument only, with as little bleed from other instruments as possible. The way Enoch Light did it was very time consuming, making sure that every microphone was capturing just the right ratio of its instrument and the room.
He was arguably the first to use compressors as a sound-shaping tool (rather than a compressor's usual use to limit peaks to fend off distortion). He didn't use them as they are used today, to cram as much loudness as possible in the track, but rather to give individual instruments a very "hyped-up" sound where every nuance was brought into sharp focus. To him, the instruments were the raw material, to be shaped and processed in the control room.
He was also the poster child for the use of "ping-pong" stereo, where instruments bounced back and forth between speakers, usually in the intro to each song. In the early days of stereo, record producers wanted to emphasize how different stereo was than mono. They wanted to emphasize the fact that stereo used two speakers rather than one, and what better way to demonstrate this than to bounce the sound back and forth between them. While this effect seems quaint today, Enoch Light tended to use this effect with more taste than many.
Its always fascinating to listen to where we came from in the recording art.
PaulyT said:Wow, can't believe how hard it is to get a hold of used Elaine Elias CD's! Twice now a seller has come back (a week later) saying they don't have Paulistana in stock after all. And today I got the jewel case for Solos&Duets in the mail, but inside was George Duke - a Brazilian Love Affair. Which may not be a bad album, I dunno (ripping it now), but still it's not what was ordered... Hope Elias is worth all this waiting.
True, they tend to be keepers. Oddly, the album above is one of the two I own of EE; didn't realise it was an import.Dennie said:Yes, Eliane Elias Music can be hard to come by used. I would not sell any of mine!! :naughty: :naughty:
I deal with a "Used Music" Dealer and he didn't want to part with this one....
Botch said:True, they tend to be keepers. Oddly, the album above is one of the two I own of EE; didn't realise it was an import.
PaulyT said:Welcome, topper! We've been waiting for you!
:text-welcomeconfetti:
Nice avatar, too. :eusa-clap:
I had to double-check, the "Best of" is the one I own.Dennie said:I've only seen the import, BUT....I have seen a "Best of" with the same cover photo.
I found it.....
AMEN BROTHER! bscene-drinkingcheers:Botch said:I had to double-check, the "Best of" is the one I own.Dennie said:I've only seen the import, BUT....I have seen a "Best of" with the same cover photo.
I found it.....
There oughta be a law, anyone who looks as good as Elaine should have a different photo on each album!