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That ABBA organic sound
Old 28th August 2016
  #151
Here for the gear
Quote:
Originally Posted by thenoodle View Post
I will point out something I often do when reading the above. There was not a limit of 48 tracks (actually 46 after smpte) and very few people I knew (including myself) felt limited to 46 tracks.

On the contrary, recording in circa 1975 with two synchronized tape machines yielded HUNDREDS of tracks. And hundreds of tracks are what many of us then used. Just like now.

For example, take the BeeGees track "How Deep Is Your Love" or "Tragedy" or their little brother's track "Love is Thicker Than Water. Tracked at Criteria where I spent a LOT of time.

How Deep is Your Love has a guide basic on a couple of tracks on 2 tracks of 24trk #1 . On reel #1 , locked machine #2 are THIRTY EIGHT tracks of back vocals..... mixed through the console and onto a couple of tracks on machine #1 . Reel #2 , locked machine #2 has TWENTY TWO tracks of lead vocal comps. doubles, whispers and you name it..... all comped and submixed back through the MCI onto one or two tracks on machine #1 . Twelve tracks were devoted to Rhodes alone. One entire reel is strings.

Same idea on Tragedy with a bazillion and a half comps of synths etc.

Love is Thicker is one of my fav comp examples. Something like 112 tracks on that thing between various slave reels. Crash cymbals overdubbed by themselves and automated fades, four tracks just for Joe Walsh to make an incredibly long slide-down note effect, mics stuck up inside toms with toms devoted to 12 tracks just by themselves. Snares flying in and out, overdubbed to diff tracks for diff texture sounds....... total ear candy for some engineers like me.

I won't even go into Eagles territory in their Criteria sessions. Again, no shortage of tracks.

It may be romantic to think there were tracks shortages along with gas shortages in the 70s.

But there weren't. There were plenty of tracks and there was plenty of automation to handle them.

A good ear though, was still crucial.



I just went to YouTube to listen to the songs you mentioned. Funny how I've heard these songs a million times but now I pay attention to different sounds and the mix... can't help it...
Old 28th August 2016
  #152
It may be interesting for someone to know what theses guys are doing now. The women seem to have retired but Björn Ulveus and Benny Andersson compose for Benny's pet project "Benny Anderssons Orkester" (BAO). Every two years or so he collects 15-20 of the very finest musicians in Sweden who bring almost only acoustic instruments. They play music strictly focused on dancing, typically the non-hip old-fashioned two-by-two style (like foxtrot). They tour leisure parks all around the country and bring their own dancing track to make sure people don't just listen politely but get out there and dance together.

The music is seemingly clichés build around pastiches of music from, say, the 40s to the seventies. But if you listen more closely the melodies and harmonies are just beautifully well crafted and the lyrics that seem so simple are well written (only in Swedish) and has immediate emotional connection.

The fact that they have quite many musicians bring opportunities to get a sort of overdubbed sound live. For example, they could have a bass guitar and a tuba doing the same bass line with *really* fat results given the quality of the musicians. (The recordings don't sound so special, though)

Everything totally lacks any trace of credibility with the know-it-all music crowd like journalists, rockers and hipsters. But normal, everyday, Swedes enjoy going to the dance tracks and just have a good time together with the band.

Me, I liked ABBA. But I LOVE BAO. The simplicity, the love of music, the fun of doing stuff that the audience loves, the musicianship, the finely crafted tunes, the complete lack of commercial ambitions, the sheer joy. One of the perks of being Swedish!
Old 29th December 2016
  #153
Here for the gear
 

Wow

Lots of ABBA love here, in fact I just created an account to ressurect this post
So...There was a private remaster of the album Super Trouper made for the ABBA japanese fanclub, the waveforms of that one (as seen on Steve Hoffman forum) are just beautiful with glorious DR.
Does anyone cane across this remaster by any chance? I'd pay crazy money for it.
Old 29th December 2016
  #154
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greggybud's Avatar
Quote:
Originally Posted by Clio View Post
So...There was a private remaster of the album Super Trouper made for the ABBA japanese fanclub, the waveforms of that one (as seen on Steve Hoffman forum) are just beautiful with glorious DR.
So when a remaster exists, it is someone...hopefully a mastering engineer gaining legal access to the mixdowns, which are owned by Universal Music and stored in their climate controlled music vaults?

Or, is it a ME ripping a 16 bit CD and then trying to alter it? Usually with EQ or MS EQ then perhaps imaging, maybe slight compression?

Or is it anyone, staying in the box, using tools with the general outcome a basic smile EQ curve?

What makes a remix better than what Michael Tretow with some assistance did years ago with the lathe?

I remember collecting really crazy Abba MP3's off Napster in the wild wild west days of the internet, but I don't think you are referring to any of those. There were dozens if not hundreds...mostly from kids discovering the magical powers of a computer, Waves Native Power pack, Acid, and lots of creativity.

I would love to see a link to that thread because I don't think I understand the perspective and obviously don't understand why Universal would allow such a thing. Or, if before Universal ownership and in the old Polar days maybe there is a different story?
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