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Originally Posted by Franco  That's actually an excellent point. It kind of just hit me now that a while ago (let's say, back in the Motown era), it wasn't possible for producers and engineers to do what is possible today; this is probably why they focused more on coaching the artists and waiting for "that" take. I hadn't thought about it in that sense. I mean, this comp'ing technique sounds tedious indeed, but I can't even imagine how you would do this sort of thing if you had to splice tape.
I'm sure if Phil Specter had the tools he probably would have been more chilled-out. I suppose the side effect to this level of editing of course is that performance-wise, you guys at the helm of the audio industry are not pushing the artists to be the next Michael Jackson (in terms of the stories I've heard of him in the booth).
Passion, like any other emotion, varies from person to person. I kind of feel depressed that I have to dig up old music to "feel" a performance from an artist and feel that I don't hear the same pains or sorrows in performances today. Unfortunately I don't listen to too much commercial music to know all of it, but Sharon Jones is someone I really like these days, I'm willing to bet they don't comp her vocals. I heard her one day and I immediately bought almost everything she's done. |
+1 for MJ and Sharon Jones!
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Originally Posted by Karloff70 You wouldn't splice tape, you'd route all your vocal takes off tape back to a fresh track of tape and bounce cutting it together with mutes. Used to be great fun (not...) doing a comp with the SSL auto muting in and out of words....lol.......easy peasey now........not sure if they comp much at Daptones, but if its done right, you shouldn't be able to tell anyway  |
I used to do that with drums some times, with tape and a sampler though. Bounce the tracks to the sampler and then back to tape where you wanted it!