Ron Andrico wrote:
I'll add my two cents worth on the other thread. In a Guitar Player
magazine interview from the 80s, when asked what kind of pick he used,
George Thorogood's response was, "If you can't think of something more
interesting to talk about, this interview is over." I guess we're not
discussing the same genre but amusing anyway.
OK - but not the same genre and not really the same fundamental issue.
As a parallel, if a lute player were asked for details of the string
tensions they used, then maybe Thorogood's (?) response might be in order.
But Crawford Young's ideas on plectra - on the face of it - seem to
fundamentally different from just about all other plectra... on any
instrument. It's a bit like saying of someone who plays the lute with
gloves on: look forget the gloves, just listen to the music, that's all
that really matters.
Ron Andrico
www.mingarda.com
> Date: Mon, 12 Oct 2009 09:26:08 -0700
> To: [email protected]
> From: [email protected]
> Subject: [LUTE] Re: The End of the Golden Age
>
> Very well put indeed. To realize the unforced, unedited perfection
> that IS attainable- albeit by nearly superhumanly talented
> performers- just go back to earlier "Golden Ages" of recording, like
> the old 78 rpm days. Studio recordings as well as live recordings
> done in one take. At the moment I am recalling the likes of Django
> Reinhardt and Art Tatum (who at least were taped- earlier recordings
> were not only uneditable but the performers also had to tailer the
> movements to the time constraints of what could fit on one side of a
> 78 record surface. Without sacrificing performance standards!)
>
> Dan
>
> Unfortunately, this exceptional cleanliness is produced via a
> huge number of digital edits which will be undetectable and therefore
> in a sense, "natural." The problem with this is that the edits where
> never conceived of or performed as an organic whole so that finished
> product, while smooth, often lacks life. Imagine if Martin Luther
> King Jr. would have recorded his "I have a dream" speech by reciting
> it 50 times, re-saying certain problem clauses or stumbled words,
> then having some audio engineer piece the various takes (some perhaps
> comprising a single syllable) together with 900 edits. Yes, his
> voice as an object might technically sound "better" once the quivers
> and explosions were taken out, but would it have the same sense of
> outrage and urgency? What would be the point?
>
> Chris
>
> --
>
>
>
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