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Another Kind of Blue - the Latin Side of Miles Davis / The Remotester's thread
Old 6th June 2019
  #121
Lives for gear
 
🎧 5 years
Self balance is the aim Folkie
Its the mark of a musician imho
Feeble performers can arranged nearer the array
Loud uns stepped back
Common sense.
It can work very well
The best jazz is conversation , not shouting.
Old 6th June 2019 | Show parent
  #122
Lives for gear
 
tourtelot's Avatar
 
1 Review written
🎧 10 years
After all this time, I just ordered a copy of Steve's work. I am SO looking forward to hearing it.

D.
Old 6th June 2019 | Show parent
  #123
Lives for gear
 
tourtelot's Avatar
 
1 Review written
🎧 10 years
I have tried my hand at recording jazz. It didn't go as I had planned. Weird to me that jazz sounds one way in the room and yet, I failed to recreate that with my my usual (classical) techniques. I have sorta come to the conclusion that the way Steve does it may be the best way; that is to say, an essentially multi mic'd approach. Main pair and spots did not cut it for me.

Funny story about that date. It was a latin group with a line of horns and a block of percs, piano down front. Now I have been listening to combo jazz since I was in high school, but I certainly hadn't ever realized that of the two, the percs would be way louder than three trumpets and a bone. Mic'd the percs and let the horns play out. Wrong!

Oh well, live and learn.

D.
Old 9th June 2019
  #124
Here for the gear
 
what are you using for i/o and are you live tracking or isolating?
Old 9th June 2019 | Show parent
  #125
Lives for gear
 
boojum's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by tourtelot ➡️
I have tried my hand at recording jazz. It didn't go as I had planned. Weird to me that jazz sounds one way in the room and yet, I failed to recreate that with my my usual (classical) techniques. I have sorta come to the conclusion that the way Steve does it may be the best way; that is to say, an essentially multi mic'd approach. Main pair and spots did not cut it for me.

Funny story about that date. It was a latin group with a line of horns and a block of percs, piano down front. Now I have been listening to combo jazz since I was in high school, but I certainly hadn't ever realized that of the two, the percs would be way louder than three trumpets and a bone. Mic'd the percs and let the horns play out. Wrong!

Oh well, live and learn.

D.
I did a live recording some years back of a jazz group in PDX. I brought my classical head not my jazz head. The mics were too high, the instruments were uneven in level and it just did not work. I got the "air" but not the music. I agree, I think that looking over Remoteness's shoulder is better.

I can do bluegrass with MS, classical with MS, can do rock and roll with MS, and some other stuff that way, sometimes throwing in a spot or two. I've gotten great results with a run and gun jnorman/boojum array for rock and roll using MS in the middle. But jazz is different. And then you hear Jazz at the Pawnshop which was minimally mic'ed. (https://forums.stevehoffman.tv/threa...ig-deal.26546/) and while not the best playing ever may be one of the best recorded jazz performances. It certainly transports me to the jazz club and what the jazz club sounds like.

Recording is scientific, with a large measure of magic.
Old 10th June 2019
  #126
Lives for gear
 
toledo3's Avatar
 
🎧 15 years
I was just thinking about this record last week, and the great modern high fidelity sound that is so very pleasing. Modern classic!
Old 10th June 2019 | Show parent
  #127
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Thank you very much. It's one of my favorite live performance captures to date.


Quote:
Originally Posted by toledo3 ➡️
I was just thinking about this record last week, and the great modern high fidelity sound that is so very pleasing. Modern classic!
Old 11th June 2019 | Show parent
  #128
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Considering that the first forty or so posts of the thread pretty much spells everything out about this capture, I get the impression you have not read this thread from the top. A great deal of information and details are within this thread discussion, especially the beginning forty posts.

Please consider reviewing the OP and various other posts I have made throughout this discussion. Once you have an understanding of what was done, I'd be happy to answer any additional information you may need clarifying.

I believe you will appreciate the detailed information that has been stated about this live performance capture and mix.


Quote:
Originally Posted by TheSoundRider ➡️
what are you using for i/o and are you live tracking or isolating?
Old 11th June 2019 | Show parent
  #129
Lives for gear
 
king2070lplaya's Avatar
It was only 15 years ago, people!
Old 11th June 2019 | Show parent
  #130
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
...and, (IMHO) still stands up to the test despite the fact that it was captured to Tascam DTRS machines with their standard converters at 24 bit / 48 K.

Quote:
Originally Posted by king2070lplaya ➡️
It was only 15 years ago, people!
Old 11th June 2019 | Show parent
  #131
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Remoteness ➡️
...and, (IMHO) still stands up to the test despite the fact that it was captured to Tascam DTRS machines with their standard converters at 24 bit / 48 K.
Some of what I still consider my best work was captured that way, and in 16/44.1 (on DA88s) before that format became 24 bit!
Old 11th June 2019 | Show parent
  #132
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Like I have said, a number of times, "It's about the "ear" not the gear."

Quote:
Originally Posted by philper ➡️
Some of what I still consider my best work was captured that way, and in 16/44.1 (on DA88s) before that format became 24 bit!
Old 4 weeks ago | Show parent
  #133
Gear Nut
Quote:
Originally Posted by Remoteness ➡️
Like I have said, a number of times, "It's about the "ear" not the gear."
oh my, Steve, You make me feel sorry I chose classical live/recording .....What a great sounding cd you made ..I use to play in such clubs and in fact travelled to New York many times from Montreal to enjoy the jazz there and for years I played ...but my younger bro who could not play a note was a great audio tech, he got me behind his console one day on a Billy Cobham drum master class..... I was hooked! SOUND!.....then opera and ballet beckoned. But, this 2004 recording of yours is astonishing...like you said, we're given the privilege of front row seats in a class act venue..this is priceless, you made my day/week/ok year....+or- 17....

Yes the drums sound fabulous , just like I tuned them! and tight...all the brass are superb, 140 on flutes ;-). tlm 103 on the kit and snare is such a perfect match...

The playing is tops and regretfully/and somewhat shamefully I don't know the musicians :-( but this is about to change....
Thank you

Ray
Old 4 weeks ago | Show parent
  #134
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Greetings and salutations, Ray!

Thank you for taking the time to read this thread.

There's nothing to be sorry about, there are all sorts of excellent sounding recordings out there, and many different approaches in how to get that excellent sound.

I am curious what instrument you played during your frequent visits to New York from Montreal?

Ah yes, life (or career) changes. I love it when a simple experience can change an individual's mindset or future endeavors. I'm a huge Billy Cobham fan as a teenager, so I can just imagine how amazing that must have been for you. I am still a big fan today, and have had the pleasure to have worked with him a number of times on records that were also captured at the Blue Note Jazz club.

No matter what size the room is, or how it may have sounded in the venue, I always do my best to bring out the best from the performance while giving the listener the impression that they are sitting, smack center in front row seats.

It brings me joy that I've made your year of Sundays. 

We had nine cats on that tiny stage, yet I was able to achieve a fair amount of isolation with a lot of "good" leakage to boot.As recording engineers, we are only as good as the musicians we surround ourselves with. They made our job easy.


Quote:
Originally Posted by RayS ➡️
oh my, Steve, You make me feel sorry I chose classical live/recording .....What a great sounding cd you made ..I use to play in such clubs and in fact travelled to New York many times from Montreal to enjoy the jazz there and for years I played ...but my younger bro who could not play a note was a great audio tech, he got me behind his console one day on a Billy Cobham drum master class..... I was hooked! SOUND!.....then opera and ballet beckoned. But, this 2004 recording of yours is astonishing...like you said, we're given the privilege of front row seats in a class act venue..this is priceless, you made my day/week/ok year....+or- 17....

Yes the drums sound fabulous , just like I tuned them! and tight...all the brass are superb, 140 on flutes ;-). tlm 103 on the kit and snare is such a perfect match...

The playing is tops and regretfully/and somewhat shamefully I don't know the musicians :-( but this is about to change....
Thank you

Ray
Old 4 weeks ago | Show parent
  #135
Gear Nut
Quote:
Originally Posted by Remoteness ➡️
Greetings and salutations, Ray!



I am curious what instrument you played during your frequent visits to New York from Montreal?
Jim Hall, Joe pass, G.Benson, Tal Farlow,Pat Martino,John Scofield and many others...We would work on Ballets at the city center and after the shows we'd go see the top names in NY Clubs..I was into Jazz guitar for the better part of the 60's and 70's...

Ray
Old 4 weeks ago | Show parent
  #136
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
That sounds awesome!

Quote:
Originally Posted by RayS ➡️
Jim Hall, Joe pass, G.Benson, Tal Farlow,Pat Martino,John Scofield and many others...We would work on Ballets at the city center and after the shows we'd go see the top names in NY Clubs..I was into Jazz guitar for the better part of the 60's and 70's...

Ray
Old 4 weeks ago | Show parent
  #137
Gear Nut
Quote:
Originally Posted by Remoteness ➡️
That sounds awesome!
Your recording sounds awesome!

I should add the names of John Abercrombie and Larry Coryell to the list ...Oh, boy, i'm hijacking this thread I think...Made me remember, one night, asked the taxi driver where's the best music in town tonight? he took us to a latin venue (I don't have a clue where that was or the name) but the headliner was Tito Puente...had never heard anything like that ....Sweet Basil was our fav...Mind you Montreal also had it's share of great Jazz clubs..The Rising Sun, Chez Biddle etc...

Our drummers took lessons every now and then in NY ...they were Buddy Rich "students"....They were Good!

The playing on your Blue Note is so tops...the bass solo with drums and percs/congas all getting in perfect responses...... such attention to details......amazing...

Told you I would highjack the thread;-)). and now back to some Shostakovitch.....

Best

Ray
Old 3 weeks ago | Show parent
  #138
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Thanks, Ray!

I'm happy that you hijacked the thread. I almost forgot about it.

There are (were) a lot of great music venues in town. In any event, Tito Puente was quite the performer. I've had the privilege to have worked with him a few times over the decades.

Sweet Basil was a small, but awesome jazz club. I cannot believe it has been over twenty years since the place closed. In 1986 My third truck, 'Jethro' recorded Gil Evans & The Monday Night Orchestra: Bud and Bird record which won the Grammy Award for 'Best Large Jazz Ensemble Album' in 1989. I have fond memories of that capture.

Did your drummer have any interesting stories about those Buddy Rich lessons?

I'm working on a Jon Batiste Big Band recording that was originally captured in early 2010. The capture sounds excellent to my ears. Listening to this recording brought me back to how I felt when I was working on Conrad's 'Another Kind of Blue - the Latin Side of Miles Davis' record.

The audience tone, and their reactions are a big part of the soundscape of my mixes, especially in all the Blue Note Jazz Club captures we were involved in. I believe we worked on 22 releases.

Attention to the details is a key component to all my projects.

Now get back to some of that 'Dmitri' listening pleasure.

Thanks again, Ray!


Quote:
Originally Posted by RayS ➡️
Your recording sounds awesome!

I should add the names of John Abercrombie and Larry Coryell to the list ...Oh, boy, i'm hijacking this thread I think...Made me remember, one night, asked the taxi driver where's the best music in town tonight? he took us to a latin venue (I don't have a clue where that was or the name) but the headliner was Tito Puente...had never heard anything like that ....Sweet Basil was our fav...Mind you Montreal also had it's share of great Jazz clubs..The Rising Sun, Chez Biddle etc...

Our drummers took lessons every now and then in NY ...they were Buddy Rich "students"....They were Good!

The playing on your Blue Note is so tops...the bass solo with drums and percs/congas all getting in perfect responses...... such attention to details......amazing...

Told you I would highjack the thread;-)). and now back to some Shostakovitch.....

Best

Ray
Old 2 weeks ago
  #139
Gear Addict
 
🎧 15 years
Quote:
Originally Posted by Remoteness ➡️
A while ago, some folks over at the Remote Possibilities forum asked me to post some tunes for review.

It’s taken sometime, but I got permission from the producer at Half Note Records to upload a couple of tunes from their catalog.

I picked two of my favorite numbers from Conrad Herwig’s CD entitled…
“Live at the Blue Note -- Another Kind of Blue -- The Latin Side of Miles Davis.”

The tunes are “So What” 9:43 and “All Blues” 8:17.

This recording also features Paquito D’Rivera, Brian Lynch, Dave Valentin, Mario Rivera, Edsel Gomez, John Benitiz, Robby Ameen & Richie Flores.

All arrangements were handled by Conrad Herwig and Brian Lynch.

This live Aura Sonic recording was produced by Jeff Levenson.
It was recorded, engineered and mixed by myself.
Jon D’Uva handled the ProTools rig during the mixing and editing stages.
My audio technicians on location were Duke Markos, Jon D’Uva, Mark Tomase and Andy Bigan.

I did my best capturing what it may sound like seated right in front of the band at the Blue Note Jazz Club in NYC. I kept the dynamics open and the sound as wide as possible -- It’s almost like being there in person.

Jon D’Uva shall upload the tunes from his computer in the next few minutes, please stand by.

I hope you enjoy the sounds.
this recording stands the test of time great job great crew great performances
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