My favorite example of that sort of thing is David Gilmour, playing the acoustig intro solo on "Wish You Were Here". I have no doubt that, had he wished, he could have worked hard to eliminate the audible fingers-sliding-up-strings and knocked out the cough in the studio. But they WORKED, taking a good piece and, by bringing the listener into the studio for a second or two, making it great.
Good thought, bad example. That cough was deliberate and part of the song. They were such perfectionists it took them from January 1975 to July 1975 to record "Wish You Were Here" (although some of that time was for a tour, still there was a lot of time in the studio.) In fact the below quote implies that they wanted that track to sound that way, like some one was playing badly along to the radio.
"When it sounds like it's coming out of a radio, it was done by equalisation. We just made a copy of the mix and ran it through eq. to make it very middly, knocking out all the bass and most of the high top so that it sounds radio-like. The interference was recorded on my car cassette radio and all we did was to put that track on top of the original track. It's all meant to sound like the first track getting sucked into a radio with one person sittng in the room playing guitar along with the radio."
Glenn, of course, good luck with the rest of the recording. Hopefully it will be good and quick. Maug is struggling with the same issues on a nonexistent budget.
That they did it by intent does weaken the example, but, IMO, strengthens the point -- that the art of it is in the imperfection. In this case, the imperfection is deliberate and preconceived, which dispels the concept of serendipity, but strengthens my concept of the creators as artists.
(no subject)
Good thought, bad example. That cough was deliberate and part of the song. They were such perfectionists it took them from January 1975 to July 1975 to record "Wish You Were Here" (although some of that time was for a tour, still there was a lot of time in the studio.) In fact the below quote implies that they wanted that track to sound that way, like some one was playing badly along to the radio.
"When it sounds like it's coming out of a radio, it was done by equalisation. We just made a copy of the mix and ran it through eq. to make it very middly, knocking out all the bass and most of the high top so that it sounds radio-like. The interference was recorded on my car cassette radio and all we did was to put that track on top of the original track. It's all meant to sound like the first track getting sucked into a radio with one person sittng in the room playing guitar along with the radio."
From http://www.pink-floyd.org/artint/99.htm
Glenn, of course, good luck with the rest of the recording. Hopefully it will be good and quick. Maug is struggling with the same issues on a nonexistent budget.
(no subject)