@ThundaGourd: You might be interested in doing a google "Direct-to-Disc at AES by Robert Auld" which describes a recording session coming as close to a straight wire into a lathe as practical. Not for the faint of heart, but apparently the results were stunning.
Keep up the good work.
Oh sure, because tons of contemporary musicians are recording on old Revox tape machines.
I understand the purist line, but the fact is that vinyl does add a physical character even to digitally recorded music. If you refer back to the piece, you'll see that's the only argument we're making. Your words "warmth" and "soul" appear nowhere in my prattle.
^ I agree completely with the above comment. Unfortunately due to current popular recording techniques , you'd be hard pressed to find an artist not recording digitally. Unless the signal your feeding is analog ( like how the sound is captured on vinyl) it's gonna be tough to reep the full benefits of a recording to vinyl. Unless his mixing console uses tubes or some sort of reel to reel recording process, that would be pointless as well , and he'd still have to adjust the levels so as not to damage his needle. That is done digitally apparently as well. Regardless this is cool. But I would be interested to see how he would tackle the task of going completely analogue ( to capture those intricate tones lost in current music listening in non vinyl format, that's the "warmth" you speak of) , from original recording to mixing and finally the record making process. If for nothing else, just for kicks.
Interesting piece. I commend Mr. Wolfe's commitment to his craft, but I can't help but smile when pseudo-hipsters prattle on about the warmth and soul of vinyl when Wolfe is feeding his lathe with ProTooled/Burned CD source material.
Take the signal from an old Studer, Otrai or Revox multitrack tape machine and you might have an argument. Better yet, one take, right from the mixing console...
All you Classic Rock fans Bob The Blade will be hosting Rock & Roll Will Never Die Friday Jan. 25th at The Pour House Music Hall. Opening the show Deep South Records "Prince Of Rock" Brooks Paul and Then 3 Time Grammy Winner Joe Taylor and his All Star Band featuring members of Joe Cocker, Junior Brown, Ian Hunter Tom Jones, Paul McCartney and Wings, Keith Urban, Lady Antebellum, Larry Carlton, Randy Brecker. This is an ALL AGE CONCERT EVENT!!!! Bring The Family!!
"It's not an album for everyone, then, but music never really is for everybody. It's for those who get it, or for those who see that there never really was a door in the way to begin with."
I wish people who write reviews would understand that if they don't get what there listening to, there review is going to be limited and bleak.
Thank you Mr Parker i enjoyed reading this.
Holy crap! These two are awsome! It's like a Nickle Creek duo. And since they are gone, I needed this. Thank you.
I'd like to go to this, but I already have an obligation to attend a four hour session of listening to grass grow and paint dry.
Looking forward to checking it out! Cool take. The sound inside must be pretty awesome.
Amazing story we have reblogged it on our website for our CP families to enjoy.
This is a wonderful, thoughtful -- and thought-provoking -- piece, Corbie.
I think this is a good article, but I have to say as a long-time Avett fan, I think that us people on the "outside" think more about their effects & influence on the broader N.C. & Americana music world than they ever have. It seems to me like they are a band who just loves to write and play music, and they dont worry much about what category people want to put them in. Many Avett fans don't like their new record, or the CMT stuff, but that's where they are now as a band... dont judge them for being successful. I tend to think they did it the right way, no one can accuse them of "selling out." They worked hard for 10+ years, through 7 or 8 releases before gaining any mainstream success. Folks are always going to envy those who "make it," and it seems like there is a little of that envy going on in this article.
"I'm just glad I live in a place where it's easy for a music editor to come up with a Top 10 local album list that's hard to argue with but would be easy to add to. "
So your not a Tutu Fan. Affliction..? I've played 100+ Shows with MuTu... Never worn anything afflicted. We play Rock N Roll music and I believe in it... I think weve met even. Maybe twice... regardless... I don't know how public this is so ill send ya an email... Sampler. Sheesh... Good times. Hope everyone made it home safe.
I think that the answer lies in venues like the Dive Bar - successful on it's rep. If the venue book good music, the crowds will come. Please no more "Battle of the Bands" or Tribute bands, Raleigh. How about some artists on the way up instead?
Oh, I love the "I can't believe you didn't include ______ in your best of list" game! On one hand, it's sort of ridiculous arguing over an essentially pointless list; how can one distill all of the area's worthy and diverse output down to an objective grouping of 10? On the other hand, list making, as well as criticizing those lists, is irresistible!
So my nomination for overlooked album is Caltrop's "Ten Million Years and Eight Minutes". I can't believe I'm alone in thinking this.
I'm just glad I live in a place where it's easy for a music editor to come up with a Top 10 local album list that's hard to argue with but would be easy to add to. May I suggest a Top 15 or Top 20 next year? Or maybe a Top 10 as voted on by readers? That might be interesting to compare to the "official" list.
dB's "Falling Off the Sky". 'Nuff said. Of course, maybe they don't meet your definition of "local", whatever that is...
I can't believe that American Aquarium's Burn, Flicker, Die is not on this list!
The number of venues certainly helps create the problem but I think a larger issue is the complete control of much of the good touring bands by Cat's Cradle booking. Clearly, they've run a fantastic venue for many years and deserve all the success they have. But their domination in booking really affects any other venue's success (in Chapel Hill & Durham especially). Taking the shows that they don't have the date or space for is one of the only ways to get big shows.
How can new venues ever get their footing if they can't book shows people want to come see? I don't know what the solution is to this..but clearly King's and Pinhook are having some success where the other newer venues are not.
Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
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