Comments for SoundBard

Comment on Heart of the Surround Rise: Steve Howe on Relishing Yes in 5.1, Playing Full Albums Live, And What to Expect From Heaven and Earth by Chris Currens

Chris Currens — Sun, 05 Feb 2017 13:56:45 +0000

Thoroughly enjoyed this fine interview. I regret that I just now came across it.

Superb job.

Thanks,
Chris

Comment on Building the 5.1 Wall: Producer James Guthrie Discusses Pink Floyd and Roger Waters’ Surround Sound Plans at Academic Conference by alan robinson

alan robinson — Fri, 01 Jul 2016 07:14:26 +0000

I never got to thank James properly for letting me stay with him in 1974 he was a classmate atbTASIS LUGANO SWITZERLAND

Comment on The Once and Future Analog King: Boston’s Tom Scholz and the Tales of His Sacred Tapes by BOSTON | Loxsley Music

BOSTON | Loxsley Music — Mon, 19 Jan 2015 02:47:22 +0000

[…] Photo retrieved from http://soundbard.com/the-once-and-future-analog-king-bostons-tom-scholz-and-the-tales-of-his-sacred-… on […]

Comment on Sunshine of Your Groove: Jack Bruce on Getting Silver Rails on Track, Recording at Abbey Road Studios & The Essence of Cream by Mike Listman

Mike Listman — Fri, 03 Oct 2014 09:57:21 +0000

Jack Bruce and his lyricist (Peter Brown…?) were a brilliant and, I would say, underrated compositional team. I still am blown away by Songs for a Tailor, for example. His point about the quality of musicians with a diverse (e.g., jazz, classical) schooling is very well taken: look for instance at the jazz backgrounds of some of pop-rock’s best drummers: Mitch Mitchell, Stewart Copeland…the list could go on. In addition to WHAT they played and how they challenged and supported the musicians around them, you had a strong sense of an intellect and a concept behind what they were doing (ditto regarding Jack Bruce). Look, of course, at what Miles Davis and his alumni were doing with jazz around the time of Cream and other Bruce explorations (shall we mention Tony William’s Lifetime…).

Comment on Total 5.1 Mass Retain: Steven Wilson on Mixing Yes’ Close to the Edge in Surround Sound by Mike Listman

Mike Listman — Fri, 03 Oct 2014 09:43:30 +0000

I was 18 or 19 when CTTE was released and, being a Yes lover at the time, purchased the vinyl, but never really appreciated the work–it seemed overblown to me and at the same time the middle section of the opening track depressed me. I’m now in my early 60s and, driven by the interest of my youngest son who discovered Yes in 2013, have gone back and listened to CTTW…and listened…and listened again. Of course it’s extraordinary in every regard; sublime, amazing…there must be other words out there. Confess that what I’ve been listening to is a YouTube upload of Steve’s masterful remix (I feel less guilty because I DID actually purchase the original vinyl, in its day) and at 4 a.m. this morning woke up (again) with pieces of the music running through my head (God…it’s been happening repeatedly lately!) and went on www looking for reviews and stories about how the work was made. This interview with Steve about what he did and why was really illuminating and thanks; I think I can understand what he’s talking about when he describes the compression of the original and how he gave it air. I’m going to finish the beer I opened (it’s 0425 now) and try to go back to sleep so I can get up for work in the morning, but just thought you’d enjoy this story from someone who lived the times (grew up in Detroit and so had very diverse early influences including Motown, the incredible local and regional garage scene, add the Beatles and other UK invaders, add Dylan and folk-rock + roots, and then into the “mind-expanding” music eventually called prog rock [yes, king crimson], and the journey goes on to things perhaps you and Steve have never heard [listen sometime to the original Playa Girón compositions of the Cuban singer/composer Silvio Ródriguez...]. Anyway, I don’t make a living off of it, but music has been the axis of a long, interesting life and this article and Steve’s contribution to CTTE has burnished a gem my spirit will carry to the inevitable edge we’re all approaching (and hopefully beyond!). Best wishes, and thanks again.

Comment on Mono a Mano: Retro King Nick Waterhouse on His Love of Vintage Vinyl & Mastering in Mono by Dee Dee Ramone's Guitar Pick

Dee Dee Ramone's Guitar Pick — Tue, 16 Sep 2014 20:41:12 +0000

Thank you for the EXTREMELY informative interview.

I’m really interested in how records are recorded, mastered, the type of equipment used etc and this really provided a sound education.

There is a practical reason for this interest; despite us living in a purported age of vinyl revivalism, most records produced today are poor, often mastered from digital sources which sounds really obvious on pro-ject xpressions and VPI Scouts alike. It leads me to think that modern vinyl is nothing but a con.

It also annoys me that record labels aren’t forthcoming when you contact them to find out how the record was mastered – they simply won’t reply to any such questions!

I solve this problem by not buying any new vinyl unless I know the exact provenance of it which thanks to your fine interview, I do.

I will definitely be buying Holly on 200g so thanks for clearing any ambiguities up me.

Comment on The Once and Future Analog King: Boston’s Tom Scholz and the Tales of His Sacred Tapes by Boston: Live, Life, & Hope |

Boston: Live, Life, & Hope | — Tue, 02 Sep 2014 04:28:28 +0000

[…] Mettler’s interview with Scholz, posted by SoundBard.com, gives remarkable insight into Scholz, his understanding of the […]

Comment on Total 5.1 Mass Retain: Steven Wilson on Mixing Yes’ Close to the Edge in Surround Sound by SoundBard – Heart of the Surround Rise: Steve Howe on Relishing Yes in 5.1, Playing Full Albums Live, And What to Expect From Heaven and Earth

Sat, 10 May 2014 21:57:31 +0000

[…] was very appreciative of you when he and I spoke about Edge in 5.1. He said having your input was invaluable to help keep things as faithful to the original as […]

Comment on Heart of the Surround Rise: Steve Howe on Relishing Yes in 5.1, Playing Full Albums Live, And What to Expect From Heaven and Earth by R. Kelly

R. Kelly — Thu, 01 May 2014 13:27:27 +0000

Roundabout sounds fine to me on my Rhino DVD-A,it’s South Side Of The Sky that has the big problem as I see it. That pulsing Rick Wakeman Minimoog Bass just after the interlude and before the song’s last verse is completely missing from the 5.1 mix,but there in the 2.0. mix….pretty odd. Also,there’s too much reverb esp. on Mood For A Day. PLU,R. Kelly.

Comment on Total 5.1 Mass Retain: Steven Wilson on Mixing Yes’ Close to the Edge in Surround Sound by Heart of the Surround Rise: Steve Howe on Relishing Yes in 5.1, Playing Full Albums Live, And What to Expect From Heaven and Earth | SoundBard

Wed, 30 Apr 2014 23:37:35 +0000

[…] He was very appreciative of you when he and I spoke about Edge in 5.1. He said having your input was invaluable to help keep things as faithful to the original as […]