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Post by bassman on Jun 15, 2021 13:24:52 GMT
Despite my affection towards old records, I have little knowledge (statistical or otherwise) of the recent hype known as "vinyl revival". What I mean is new recordings issued on vinyl, as opposed to vinyl re-issues of old vinyl albums. How do they go about it? DDA? DAA? Or even all analog from beginning to end? While all-analog production would, at least in theory, make sense in re-issuing historical material, thus satisfying the hard-core analog freak, I don't think any sound studio today would seriously consider recording to analog tape on a regular basis.
But why would anyone buy newly recorded music in vinyl format if all (or some) of the preceding steps are done digitally? What does it mean to the hard-core vinyl lover, the one to whom "digital" is anathema? Does it even matter? Some might argue that if CD sales came to a complete stop, vinyl would at least provide better sound than the average streaming format (which is not for me to decide - though I have a very strong opinion on this).
Any thoughts?
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Post by gregorythefish on Jun 15, 2021 13:50:56 GMT
There have been all-analog chains in operation continuously since the dawn of recording technology, believe it or not. To this day, hardcore band Converge records and mixes entirely analog, and has since their start in 1994, and then provides a new mix to the CD mastering engineer after they mix for vinyl. Their vinyl releases are legit. Their guitarist, Kurt Ballou, runs a studio called God City that is all analog, and is a huge name in production for most aggressive heavy music these days. A lot of doom/stoner metal bands also do this, and take their craft very seriously. Most good jazz artists, such as Matana Roberts, also do this. So there is and probably always will be a demand and preference for this, at least to a small extent. Though I might argue that modern production techniques rarely make this worthwhile.
There's no vinyl revival to my eyes. Vinyl just now outsells CDs, which are on the way out, if not there already. Streaming is the new way. Talk of a vinyl revival is just industry assuaging of concerns from people who do not understand new technology. Similarly, people talk of a cassette revival, even though underground hip-hop and black metal have been released almost exclusively on cassette for decades.
But you are right. Most pop artists and their producers and labels don't care and don't want to bother with analog signal chains. The kids just enjoy the fun tactile vinyl aesthetic and the pop labels oblige by releasing colored limited vinyl. And I have absolutely no problem with that, personally. It keeps plants in business, helps record stores, and such. Plus, I never begrudge anyone their fun.
Some of it is quite collectible, too. A shop in Florida that I follow on Instagram recently got a limited copy of Frank Ocean's "Blond" on vinyl, and sold it, I believe, for $1600. That record only came out roughly a decade ago and is neither particularly good, in my opinion, nor is it analog at any step.
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Post by bassman on Jun 15, 2021 14:58:04 GMT
[ ... ] I never begrudge anyone their fun. [ ... ] That nails it! - And thank you for providing all this background information.
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heavyp
Junior Member
Posts: 69
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Post by heavyp on Dec 1, 2023 18:14:06 GMT
Hi everybody. What are your feedback on the craft label reissues ? Are they that bad no one wants to confess they got one ?
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Post by alunsevern on Feb 1, 2024 12:22:37 GMT
Hi everybody. What are your feedback on the craft label reissues ? Are they that bad no one wants to confess they got one ?
Well, I'll "confess". I bought the recent Monk with Coltrane and Ornette's Tomorrow is the Question. Perhaps a third as well, but if so I can't remember what. The two I do remember offer real, tangible improvements over the versions I had and sound better than any other version I have heard. That excludes originals, which I have never heard. Beautifully pressed and presented too.
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heavyp
Junior Member
Posts: 69
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Post by heavyp on Feb 6, 2024 18:32:54 GMT
Hi God ;-D Got a few recently : chet, chet in new york, john lee hooker They're good and of great quality , a no-nonsense compromise compared to OG or the big reissue honchos. As always, the cover artwork and the feeling, say the "hand" of the sleeve, can't compare with the original. Musically, I found the stereo Chet pretty convincing compared to the original mono, which of course stays ahead played with a mono cart. But its great to have a good everyday copy
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heavyp
Junior Member
Posts: 69
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Post by heavyp on Feb 6, 2024 18:38:28 GMT
On the same subject, maybe its old news but i just discovered what must be the most HERETIC jazz vinyl move reissue ever...
It's said as being "unofficial" but it was sold at FNAC in France, which is the largest retail shop company over here.
The guys behind this call themselves the Rat Pack, at least there's a grain of salt and humor about it. I have no idea about how it sounds... It was sold cheap so most probably pressed from digital sources
I confess I'd feel a little embarassed to stack any in my Blue Note rack You guys better say a little prayer before opening this link www.discogs.com/release/24937747-Hank-Mobley-Hank-Mobley/image/SW1hZ2U6OTg1NjU5NDg=
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Post by bassman on Feb 8, 2024 8:11:40 GMT
Hi God ;-D Got a few recently : chet, chet in new york, john lee hooker They're good and of great quality , a no-nonsense compromise compared to OG or the big reissue honchos. As always, the cover artwork and the feeling, say the "hand" of the sleeve, can't compare with the original. Musically, I found the stereo Chet pretty convincing compared to the original mono, which of course stays ahead played with a mono cart. But its great to have a good everyday copy Thanks for mentioning the John Lee Hooker. Though country blues is not my main interest, I have quite a few of his recordings, including - I think - the ones found on RLP 838, which by itself was quite new to me. Hooker, if I remember well, even recorded with Miles Davis, of all people.
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dg
Full Member
Posts: 125
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Post by dg on Feb 8, 2024 19:02:39 GMT
....Hooker, if I remember well, even recorded with Miles Davis, of all people. Thanks! As something of a Miles Davis “completist” I was interested to hear about this album. Jack Nitzsche, the producer for the soundtrack and album, is someone whose work in a wide variety of musical styles I have long admired. From Wikipedia: “The Hot Spot is a 1990 American neo-noir romantic thriller film[ directed by Dennis Hopper, based on the 1953 novel Hell Hath No Fury by Charles Williams, who also co-wrote the screenplay. It…features a score by Jack Nitzsche played by John Lee Hooker, Miles Davis, Taj Mahal, Roy Rogers, Tim Drummond, and drummer Earl Palmer.” “Bernard Alfred "Jack" Nitzsche (April 22, 1937 – August 25, 2000) was an American musician, arranger, songwriter, composer, and record producer.[4] He came to prominence in the early 1960s as the right-hand-man of producer Phil Spector, and went on to work with the Rolling Stones, Neil Young, and others.”
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Post by dottorjazz on Feb 9, 2024 8:55:18 GMT
quite odd: didn't know to have this one and never listened to. so sad growing old...
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Post by Doom Girl on Feb 9, 2024 15:09:49 GMT
quite odd: didn't know to have this one and never listened to. so sad growing old... well, it's no Ascenseur Pour L'Échafaud! But (perhaps) worth listening to. All the world's a stage, And all the men and women merely Players; They have their exits and their entrances, And one man in his time plays many parts, His Acts being seven ages. At first, the infant, Mewling and puking in the nurse's arms. Then the whining schoolboy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress' eyebrow. Then a soldier, Full of strange oaths and bearded like the pard, Jealous in honor, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon's mouth. And then the justice, In fair round belly with good capon lined, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part. The sixth age shifts Into the lean and slippered pantaloon, With spectacles on nose and pouch on side; His youthful hose, well saved, a world too wide For his shrunk shank, and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything.
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Post by dottorjazz on Feb 9, 2024 19:26:15 GMT
undoubtedly knowledge, experience, musical tastes grow with age from nothing to the stars, if you dedicate yourself and do your best. I'm quite pleased of the path I've done, and still doing. but, no doubt, age becomes severe in brain and body. every day there are hard trials under our eyes (Mr. Biden?). I'm not the President of USA but I would like to say that Countries are a lot to remember and I've got so many records that one can escape, actually it's the first time, hoping to be the last. when my sons remember me that every birthday increases my wisdom (!), I shout them with I would prefer to be a 20 years old moron. anyway still looking for Dorian Gray's picture.
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Post by bassman on Feb 10, 2024 8:18:50 GMT
[ ... ] anyway still looking for Dorian Gray's picture. Be careful, Doc ... the story has a catch.
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Post by alunsevern on Feb 12, 2024 15:00:49 GMT
Despite my affection towards old records, I have little knowledge (statistical or otherwise) of the recent hype known as "vinyl revival". What I mean is new recordings issued on vinyl, as opposed to vinyl re-issues of old vinyl albums. How do they go about it? DDA? DAA? Or even all analog from beginning to end? While all-analog production would, at least in theory, make sense in re-issuing historical material, thus satisfying the hard-core analog freak, I don't think any sound studio today would seriously consider recording to analog tape on a regular basis. But why would anyone buy newly recorded music in vinyl format if all (or some) of the preceding steps are done digitally? What does it mean to the hard-core vinyl lover, the one to whom "digital" is anathema? Does it even matter? Some might argue that if CD sales came to a complete stop, vinyl would at least provide better sound than the average streaming format (which is not for me to decide - though I have a very strong opinion on this). Any thoughts? I don't have actual facts and figures at my fingertips, bassman, but let's not have that stand in the way of a good theory! I think the simple answer is probably this: if there's money in old-fashioned records because they are for some reason hip again, then let's make 'em. And we'll make 'em in whatever way seems most profitable for the particular market we have in mind. I don't think most companies care whether records sound good or even get played. It's just a format and they'll make whatever combination of formats will earn a good return.
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Post by bassman on Feb 12, 2024 19:12:52 GMT
Despite my affection towards old records, I have little knowledge (statistical or otherwise) of the recent hype known as "vinyl revival". What I mean is new recordings issued on vinyl, as opposed to vinyl re-issues of old vinyl albums. How do they go about it? DDA? DAA? Or even all analog from beginning to end? While all-analog production would, at least in theory, make sense in re-issuing historical material, thus satisfying the hard-core analog freak, I don't think any sound studio today would seriously consider recording to analog tape on a regular basis. But why would anyone buy newly recorded music in vinyl format if all (or some) of the preceding steps are done digitally? What does it mean to the hard-core vinyl lover, the one to whom "digital" is anathema? Does it even matter? Some might argue that if CD sales came to a complete stop, vinyl would at least provide better sound than the average streaming format (which is not for me to decide - though I have a very strong opinion on this). Any thoughts? I don't have actual facts and figures at my fingertips, bassman, but let's not have that stand in the way of a good theory! I think the simple answer is probably this: if there's money in old-fashioned records because they are for some reason hip again, then let's make 'em. And we'll make 'em in whatever way seems most profitable for the particular market we have in mind. I don't think most companies care whether records sound good or even get played. It's just a format and they'll make whatever combination of formats will earn a good return. I think what you're saying makes sense, Alun. As for myself, most of my vinyl is all analog because it was pressed before 1980. Just like everybody nowadays, I rely on various sources. CD is OK if I really want to "own" something.
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