Listening the way the artist intended
- Thread starter Wigwam Jones
- Start date
Well I like to think that the answer is blowing in the wind. To me the statement, from Dylan, "But I would not feel so all alone." preceeding the request makes it personal as well as universal. Like I'm gonna get wasted, care to join me? This from the man The Beatles all acknowledged was the very individual who turned them onto herbal enhancements.
Criticism? Let he who is without sin cast the first stone.
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He was accused of receiving 30 silver coins figuratively.
malden
Lunatic Member
Maybe there are artists who have visions for how their music should be heard. If they exist, they are the exception.
For the artists who do care, why not give instructions of how to listen to their work, a prescription of sorts. Or maybe they could partner with a manufacturer of audio gear that would produce a system specifically tailored to their music?
For the artists who do care, why not give instructions of how to listen to their work, a prescription of sorts. Or maybe they could partner with a manufacturer of audio gear that would produce a system specifically tailored to their music?
malden
Lunatic Member
ha, yes..........signature series audio systems.....^^^
You mean like the musical instrument manufacturers do?
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I think you're in a pretty small minority with that opinion.that's a good one!
only once have i heard dsotm sound really good and that was through dbx soundfield 1a (with 12 tweeters and the eq.) it sounds muffled or veiled on anything else i've ever heard it on. it just does not sound good to me.
Lead Printer
New Member
I still listen to the albums I bought during college in the 70's & 80's on the equipment I bought in the 70's. I love every click and pop from the years of love I've showed those artists! There is a squeal in Steely Dan Kay Lied that I can't explain. As far as I know it's only on my copy, I've never heard it anywhere else, but if it's not there I know it. I have 4500 songs on my phone that I stream anywhere I can. That's roughly 10-11 days on shuffle without a repeat and more on the computer at home. I go to the library check out some CD's take them home and rip them to my hard drive. I never get bored with the offering, I pay no subscriptions and never listen to a commercial unless I want to listen to the radio.
Life is Good!
Gigantic
A big, big love
As have I. Most musicians I know have crap audio systems at home. I don’t know many who are actually into audio or have more than a few hundred bucks invested in a stereo system. (Same goes for my best friend, who was the executive director of a multiple-Grammy winning choir). Many musicians I know will take a mixdown of a newly recorded track to their car to listen to it, rather than the mixing booth, so if you want to hear as the artist intended, you should listen to music in the driver’s seat of a 2004 Toyota Camry.I have oft been in the studio or control room for recordings and final mixes. Many care and put in the effort to get the sound they want us to hear.
Its works, even on different systems
Having seen more than my share of Director's Cuts, I'm no longer much bothered about what an artist might have intended.
Kicking off the whole shebang, Dylan, the Beatles, and the Stones did alright out of what was released _at the time_, whatever they did or did not know about the recording process, and people loved it.
Kicking off the whole shebang, Dylan, the Beatles, and the Stones did alright out of what was released _at the time_, whatever they did or did not know about the recording process, and people loved it.
Copanel
Well-Known Member
I listen as I like, not as the artist would like, I don't agree with this term (as the artist wanted). I believe that only at a live performance without an amplification system can you say that you are listening as the artist wanted, otherwise there are infinite variables.
I ran across an interesting article about music production:
medium.com
But it is old, a note saying:
"Note: This article originally appeared in the March, 2008 edition of Word Magazine. That was a long time ago—before YouTube started to usurp radio as the place where people discovered music, before music streaming services, before the vinyl revival and before audiophile digital music players like Neil Young’s Pono."
Still, some interesting stuff on music I own, such as this concerning Johnny Cash’s American IV (2002):
"Rick Rubin’s recordings of Cash are extraordinarily intimate and affecting. But they don’t sound anything like Johnny Cash sitting in your living room playing some songs. They sound like you’re perched on Johnny Cash’s lap with one ear in his mouth and a stethoscope on his guitar."
In terms of artist intent, the article included, "Today, the process of recording performances, then editing them together into what the band and producer consider a finished track, is just the start." It then described what mix engineers do, such as "tweaking and polishing and trimming every sound that will appear on the record," and, importantly, "without the artist and producer breathing down his neck." One example of this was JJ Puig saying, “When I mixed The Rolling Stones’ A Bigger Bang album, I reckoned that one of the songs needed a tambourine and a shaker, so I put it on."
Why Do All Records Sound the Same?
Desperate to get their music on the radio, record labels employ powerful software to artificially sweeten it, polish it, make it louder
But it is old, a note saying:
"Note: This article originally appeared in the March, 2008 edition of Word Magazine. That was a long time ago—before YouTube started to usurp radio as the place where people discovered music, before music streaming services, before the vinyl revival and before audiophile digital music players like Neil Young’s Pono."
Still, some interesting stuff on music I own, such as this concerning Johnny Cash’s American IV (2002):
"Rick Rubin’s recordings of Cash are extraordinarily intimate and affecting. But they don’t sound anything like Johnny Cash sitting in your living room playing some songs. They sound like you’re perched on Johnny Cash’s lap with one ear in his mouth and a stethoscope on his guitar."
In terms of artist intent, the article included, "Today, the process of recording performances, then editing them together into what the band and producer consider a finished track, is just the start." It then described what mix engineers do, such as "tweaking and polishing and trimming every sound that will appear on the record," and, importantly, "without the artist and producer breathing down his neck." One example of this was JJ Puig saying, “When I mixed The Rolling Stones’ A Bigger Bang album, I reckoned that one of the songs needed a tambourine and a shaker, so I put it on."
i put the album on the platter, lower the tonearm and make my way back to the listening chair. I listen. I enjoy. When it hits the run out groove I get up and decide to continue playing LPs or not.
As far as the concept of intent goes, on any level at all: The artirst's intent, my intent, anyone else's intent. Does not arise. I'm not doing it to examine the idea of 'intent'. I'm going through the entire procedure to listen to the LP. My 'Intent' therefore is fulfilled by the act of hearing. Case closed.
I regard every consideration beyond that to be incomprehensible for me personally.
As far as the concept of intent goes, on any level at all: The artirst's intent, my intent, anyone else's intent. Does not arise. I'm not doing it to examine the idea of 'intent'. I'm going through the entire procedure to listen to the LP. My 'Intent' therefore is fulfilled by the act of hearing. Case closed.
I regard every consideration beyond that to be incomprehensible for me personally.
malden
Lunatic Member
I'm guessing by "amplification system" you mean "sound reinforcement", Hendrix would not be Hendrix without his amp