The classical music is entirely described on a partition.This is just not true.
Many authors go back and make minor changes to their novels or other written works when later editions are printed. JRR Tolkien did this extensively, for example.
Many composers made alterations to scores for orchestral works or operas after those works debuted.
Many directors re-cut their films to make minor corrections to pacing or restore a shot or scene they later realized should not have been cut.
And many works of art have been professionally restored as they fade over time, which is much more akin to a remaster, which typically does not alter the actual original recordings, but only tweaks their presentation slightly.
This is just not a coherent objection, and is also a movement of the goalposts from your previous post.The classical music is entirely described on a partition.
When there are a change, the opus has a number of revisions.
Same thing for a book.
It's a matter of intellectual honesty. Kundera was opposed to any revision as he was opposed to any posthumous editing. In music, He did not approve of works published after the author's death.
A classical works are not created in a studio.
The white album was created in a studio with a mixing, a mastering, production choices like all the rock albums until the robot won.
The Steven Wilson remix and remaster of Aqualung by Jethro Tull was a dramatic improvement over the original. His remix and remaster of Minstrel in the Gallery also eliminated a high-frequency hum that was present in the original mix and master and made it a smoother listen.I don't know of a re-master that was a step forward, only those where there were so many changes it was not the same and usually worse.
The Steven Wilson remix and remaster of Aqualung by Jethro Tull was a dramatic improvement over the original. His remix and remaster of Minstrel in the Gallery also eliminated a high-frequency hum that was present in the original mix and master and made it a smoother listen.
The 2007 Genesis remasters generally did a good job cleaning up the somewhat muddy sound of the early recordings, and particularly improved the sound of The Lamb Lies Down on Broadway, the original master of which sounds very thin.
Most of the time remasters are small changes - if you level match them to original masters I would guess in most cases most people would not notice a difference. As with many things in audio, expectation and differences in volume level contribute to the majority of differences people claim to hear.
I agree - the Steven Wilson remixes I've heard (Yes, Jethro Tull, King Crimson) have been consistently great. The improvement is not subtle - Wilson is a studio genius. Most of the Rush & Pink Floyd remasters I've heard are also quite good, though the differences are more subtle. Generally, a tad less edgy through the midrange and it picks up some very subtle details that were masked in prior versions, but similar enough you have to listen critically to hear the differences.The Steven Wilson remix and remaster of Aqualung by Jethro Tull was a dramatic improvement over the original. His remix and remaster of Minstrel in the Gallery also eliminated a high-frequency hum that was present in the original mix and master and made it a smoother listen.
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Most of the time remasters are small changes - if you level match them to original masters I would guess in most cases most people would not notice a difference.
Because the if it's at the traffic lights outside my house it probably has blue lights under the chassis and emits dubstep at ten billion DBs.Why does the sound of a Ferrari triggers a different response than that of a Ford Focus?
That's just sad. I don't like “perfect”, that makes music too sterile.Interesting info on 'remasters', FWIW. From the latest Boston Audio Society Speaker.
The young Englishman ... named Fil is using vocal isolation software and a screen display of the fundamental pitch to examine singers' pitch control. One alarming finding is that AutoTune software is being used on reissues of rock tracks. One example: Freddie Mercury of the band Queen was legendary for his accurate pitch, but now Queen tracks are being reissued with his pitch "corrected."
It's interesting what this says about our intuitions. I hate the idea as much as the next music enthusiast, but is there a material difference between using autotune and a mastering engineers ear to correct the artist performance? I feel like there is, but can't explain why.Interesting info on 'remasters', FWIW. From the latest Boston Audio Society Speaker.
The young Englishman ... named Fil is using vocal isolation software and a screen display of the fundamental pitch to examine singers' pitch control. One alarming finding is that AutoTune software is being used on reissues of rock tracks. One example: Freddie Mercury of the band Queen was legendary for his accurate pitch, but now Queen tracks are being reissued with his pitch "corrected."
I'd like to see something a little bit more to substantiate this claim. As far as I can see the current standard CD and digital streaming versions of Queen's catalog are from remasters dating a little over a decade ago, not remixes. To autotune a vocal track you would need to remix the track - you cannot isolate and autotune vocals from a finished mix, so this claim seems... unlikely.Interesting info on 'remasters', FWIW. From the latest Boston Audio Society Speaker.
The young Englishman ... named Fil is using vocal isolation software and a screen display of the fundamental pitch to examine singers' pitch control. One alarming finding is that AutoTune software is being used on reissues of rock tracks. One example: Freddie Mercury of the band Queen was legendary for his accurate pitch, but now Queen tracks are being reissued with his pitch "corrected."
Nothing that a cheap turntable won't fix.That's just sad.
is there a material difference between using autotune and a mastering engineers ear to correct the artist performanc
I've heard results of what is called 'digital extraction' on some YT videos. Where vocals are more than less isolated from the main mix. I don't know how it's done. Or if it is what it is claimed to be. If someone had access to the multitrack sessions it would be easier to manipulate vocals--or whatever is on each separate track.- you cannot isolate and autotune vocals from a finished mix), so this claim seems... unlikely.
Replace impressionist paintings with photographs, Monet sorted.Image a person doing art painting renovation and restorations not only removing dirt and patching up damages, but also changing the colours to make them more realistic.
you cannot isolate and autotune vocals from a finished mix
Recording / mastering engineers , like Rob Watts, desperately trying to substantiate their lives work and create a need for themselves.