Klarinet Archive - Posting 000560.txt from 1999/10
From: "Michael Whight" <michael@-----.uk>
Subj: Re: [kl] Funny Nielsen recording
Date: Tue, 19 Oct 1999 04:00:24 -0400
> > At 03:24 PM 10/18/1999 +0100, Michael Whight wrote:
> > >Well yes I am well aware of what is possible but just because we have
the
> > >technology doesn't necessarily mean that it is good to use it. I
> > am not in
> > >favour of trying to produce a "definative" recording- in fact I
> > am against
> > >anyone trying to tell the public what is " the best" as the whole
process
> > >seems to me to be contrary to what live music is all about.
> >
> > Correct. But it is exactly what RECORDED music is all about.
> >
>
> THANK YOU!!!! This is exactly what my point was.
What does this tell us about the state of recorded music then? Please do not
start to tell me about living in the real world. Having been involved in the
making of several hundred CDs I am not naiive but I hope we can look past
the current marketing to a better way of presenting music. When I suggested
in an earlier posting that the problem with recordings is that they are too
permanent it is not as silly as it sounds. If you record music on to
cassette tape from radio say, it is easier psychologically to erase and move
on. CDs are presented usually to form part of a permanent collection.
Perhaps with the advent of music files on the internet our habits of
collecting performances will change so that we don't try to capture a single
performance for all time as a general rule but look to re-record frequently
so that we get a broader view of music. How many people have you heard going
to a concert saying " it doesn't sound like my CD at home". They only know
and accept one possibility.
>
>
>
> Going to a concert is a totally different experience than listening to a
> recording. A whole different set of rules apply. The interaction is what
> gives us a sense of energy in a performance. On a recording, there is NO
> interaction. Therefore, people are less willing to make excuses for
> mistakes.
Then all recordings must be dead performances if they do not engage?
>
> I am sure most of you out there are familiar with most of the big
broadcast
> series out there on the radio. Guess what, they all go through
> post-production that more often than not includes *splicing*. There are
> very few real "live" performances out there. You know all those "live"
CDs
> out there? They are all spliced as well. They take the best parts of
> multiple concerts. If there are still problems, they schedule a session
to
> fix mistakes for editing. This is, in fact, one of the cheapest ways that
a
> recording company can hire an orchestra to make a disc.
Not all radio broadcasts are done like this. In the UK there are plenty of
really live concerts broadcast. You are generalising.
>
With regard to the audition experience, how about this for interaction?
There were some screened auditions being held for a job and a friend of mine
went for it. From the very first note things were going badly - very badly
and so my friend was thinking. Jesus, I've really f***ed up here I'd better
take a peek at who is on the panel. Meanwhile on the panel they were
thinking " this is F***ing terrible, who the hell is this?" They decided to
take a peek too. So as my friend and the panel member approached the screen
they could both sense the other's presence just a few inches away.
After a moment my friend just whispered,
" Bless me Father, for I have sinned"
Michael
>
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