Joe G

I always imagined that decapitation would sound more like "SSSHHHHCHTHPT!!" than "Whoosh".

I hope you remembered to turn out the lights when you left.

Didn't know you are a brass player. ← After hearing this, I'm kinda glad I'm not!

I think Dizzy is the real revelation for me here as well.

Indeed. He's lived and breathed it all his life. I've seen him twice, and the second concert was one of the most engaging performances I've had the pleasure of attending.

No shit?

Return of the Jedi: "Your feeble skills are no match for the power of the DARK side!!"

Yeah Jim! Move yo ass - not just yo hand.

Same here.

Earth to Shaq: people are earthlings...

At least it's clear why they call it the Amazon Advantage.

Is that a reference to sex or drugs? A happy one to you my friend!

Present company excluded, of course.

I just caught up to this forum since it moved from the Blue Note board. I'm glad to see Jim is still participating. Jim I think what you say is so true. The isolation is a mere technical convenience without a musical purpose, and in most cases, it sucks the life out of the music. Our cats spend night after night standing next to each other on the bandstand making great music. Why would I want to change that when I take them into a studio? Putting musicians into isolation booths reminds me of 1950s behavioral psych experiments. People play as though they knew they could do it again. The real drama comes partly from knowing the musician is vulnerable and risking it all. Our current "big vocal record" was recorded by Baker for me at Avatar A. Singer plus octet. A dozen ribbon mikes and the art of the null plane. All full band takes, mixed live to stereo by Baker. Mixing on the Neve, he looked like he was conducting an orchestra himself, and that's how I'll remember him. Luke All the above is the downside of the improvements in recording techonology over the years since multi track regarding began in the 60s. The isolation , overdubbing, and all the other innovations have created a very lackadaisical attituted among studio musicians of the later generations. Since they KNOW they can fix the flubs, the "hands" come up every few bars for a fix. It's not that they CAN'T play it right through ..they know they dont have to anymore, hence the concentration factor is gone. When I recorded my big band CD in 2004 I did it basically live, and I made it a point to make sure to let all involved know we were gonna go for complete takes ( or at the most and intercut pickup like the old "live to 2 track " days. The band really got into it, and most everything was done in two or three takes ( in some cases ,a single take and a pickup ). The overall preformance was excellent, and the energy feel generated by the process was very noticable. ( note: we did use multi-track ProTools, but there was VERY little cosmetic surgery necessary prior to mixing ) ← I forgot about this exchange. We recently had a rather heated thread ( here ) on the subject of edits in recordings. I was going to ask the members who posted here if they had any further thoughts on this, but I think it's pretty clear from the quotes above what they think!

Besides, haven't you noticed that all the guitar players on this board have some serious head trips going on? Go forth and play the bass, young man!

What is it about our eyes that seems to draw these things into them?

I certainly take my hat off to him.

On cereal is the only way I can get milk down my throat. Otherwise I hate the stuff! ← You don't do moosemilk?

Actually, it's both in equal measure.

You were thinking the music business was a meritocracy?

I enjoyed that post very much.

One of these things is not like the other...

Hey, I was proud of myself for limiting my response to two posts. ...whoops, make that three.

That's not what I got from his statement. He puts Ribot in with the "tone scientists", implying that's a good thing. No mention of digital fog, just that the alternative is, I guess, someone like Peter Bernstein playing straight (and harmonically solid) jazz guitar.