Re: [ARSCLIST] Two other N.Y. Times article on a different type of digitizing

[Scott Phillips <scottp@xxxxxxxxxxxxxxxxxxx>]

The master 24 track tapes for 'Derek and the Dominos' are still are
around. The recordings were done at Criteria Recording in Miami, and at
least through 2002 the masters were still there. I used to work there
years ago, (the '80's) and sometimes late at night I'd get famous tapes
out of the tape vault and listen to them just for the heck of it. You
are right, the playing was wonderful, but the recording was terrible. On
the 2 track masters, the mastering engineer's notes showed all manner of
things done to try to help them out. Strange though, there were many
fine recordings done at Criteria, the equipment, facilities and
recording engineering talent was all available.... Why these particular
tracks (24 track and 2 track) sounded so bad was and is a mystery to
me... 

Best regards,

Scott Phillips

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:ARSCLIST@xxxxxxx] On Behalf Of Tom Fine
Sent: Tuesday, March 13, 2007 5:30 PM
To: ARSCLIST@xxxxxxxxxxxxxxxx
Subject: Re: [ARSCLIST] Two other N.Y. Times article on a different type
of digitizing

I figured it was still crude, but it's moving there. The next step will
be taking individual tracks of Really Badly Recorded multi-track
recordings like, say Derek and the Dominos and recreating them in
super-fidelity. Think of the possibilities -- a whole new way to reissue
every "classic recording." Too much potential $$$ to leave on the table.
Just to be clear, I'm not advocating any of this, just looking at where
it's headed.

-- Tom Fine

----- Original Message -----
From: "Marcos Sueiro" <mls2137@xxxxxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Tuesday, March 13, 2007 6:32 PM
Subject: Re: [ARSCLIST] Two other N.Y. Times article on a different type
of digitizing


> Tom,
>
> It looks like the first article is exactly about that. Only MIDI is
too crude a language (e.g. 
> only sustain pedal on/off), so I think Zenph created its own software.
>
> As the reviewer points out, though, a performer will change his
performance with the instrument. I 
> would add: a performer will also change his performance to the hall
(although maybe less in a 
> studio).
>
> I would also add that I have heard few (no?) Yamaha pianos that I
like.
>
> Marcos
>
> Tom Fine wrote:
>> One thing related to this I've always wondered. For instance, an old
piano recording, a great 
>> performance but a crapola 78 recording. Why couldn't modern MIDI
software recreate all the subtle 
>> attack, decay, rhythmic eccentricities, etc that make the performance
unique and then play it 
>> back on a good if not fantastic sounding MIDI Yamaha grand piano, for
example? Not sure if this 
>> is doable to the level of precision I'd want, but it's an interesting
thing. Perhaps one day, all 
>> low-fidelity recordings of great musical merit can be recreated in
high fidelity. Then again, 
>> perhaps not?
>>
>> -- Tom Fine
>>
>>
>> ----- Original Message ----- From: "Marcos Sueiro"
<mls2137@xxxxxxxxxxxx>
>> To: <ARSCLIST@xxxxxxxxxxxxxxxx>
>> Sent: Tuesday, March 13, 2007 5:40 PM
>> Subject: [ARSCLIST] Two other N.Y. Times article on a different type
of digitizing
>>
>>
>>> The first is about the new recordings of Zenph's "recreations" of
performances in old recordings 
>>> (How are we going to note these in the metadata?)
>>> http://www.nytimes.com/2007/03/12/arts/music/12conn.html
>>>
>>> This one is about preserving videogames (which, of course, include
sound). You may think it is 
>>> challenging to safely point a digital file of audio to, say, the
corresponding LP cover. Imagine 
>>> keeping the code and machines necessary to "preserve" these:
>>> http://www.nytimes.com/2007/03/12/arts/design/12vide.html
>>>
>>> Marcos
>>> CU Libraries
>>>
>