What Recording Method?

[Staun]

"Let's Stay Together" by Al Green and "John Barleycorn" by Traffic, are two albums that have a great recorded sound. The instruments are at a normal volume but the surrounding sounds and air seem to be cut way down. I'm sure I'm explaining this incorrectly but they seem to have a quietness to them that doesn't effect the instruments that are being played. If your familiar with these albums, could you possible tell me what's going on here?

[rcarlberg]

It's probably just good engineering.

I see "John Barleycorn" was engineered by Steve Winwood and Chris Blackwell at Island Studios and Olympic Studios -- two fine studios, but in 1970 their technology wouldn't have been anything unusual. "The instruments are at a normal volume but the surrounding sounds and air seem to be cut way down" sounds like skillful use of compression perhaps.

Somebody like Udi Koomran -- who is a REAL engineer -- could probably give you the real scoop.

[Staun]

It's probably just good engineering.

I see "John Barleycorn" was engineered by Steve Winwood and Chris Blackwell at Island Studios and Olympic Studios -- two fine studios, but in 1970 their technology wouldn't have been anything unusual. "The instruments are at a normal volume but the surrounding sounds and air seem to be cut way down" sounds like skillful use of compression perhaps.

Somebody like Udi Koomran -- who is a REAL engineer -- could probably give you the real scoop.

Robert, could the word I'm looking for be, "Dry"? Could these be dry recordings?

[rcarlberg]

Robert, could the word I'm looking for be, "Dry"? Could these be dry recordings?

Hmmm, not particularly. More like "close recorded."

[Jubal]

Close recorded and dry with very minimalistic arrangements. Listen specifically to the horns on Let's stay together. They are mostly what horn players refer to as stabs- very short, punctuated notes and very little room ambience. Most of the miking is probably cardoid or hypercardoid, with the exception of the vocals. The vocals probably used Neumann style mikes that may have been isolated from the room using sound absorbing barriers.
The arrangements have the greatest effect on allowing the sound of each part to easily be heard.

[Staun]

Close recorded and dry with very minimalistic arrangements. Listen specifically to the horns on Let's stay together. They are mostly what horn players refer to as stabs- very short, punctuated notes and very little room ambience. Most of the miking is probably cardoid or hypercardoid, with the exception of the vocals. The vocals probably used Neumann style mikes that may have been isolated from the room using sound absorbing barriers.
The arrangements have the greatest effect on allowing the sound of each part to easily be heard.

I find all of this to be most interesting. It's crazy when you think back to all the things you've heard about what bands did in getting that one particular recorded sound. I must admit that I like this type of recording method. Drums always seem to sound great. Pearl Jam have a few songs recorded like this I believe. I'll keep my ears open for more of this.

[Yodelgoat]

You get the effect like this by using a subtle reverb on the "normal" instruments, then produce the sound or voice as completely dry. You then get the effect that the music is coming from a bit of a distance, but the sound is being whispered - or performed right close to your ear. Your brain's past experience with far away sound does all the work.

ELP used this to some level of effect in Carn Evil 9 with the part where Lake says "We got thrills.. AND SHOCKS..." They also silenced everything but the ..AND SHOCKS... You listen and notice there is no reverb on the voice just for those two words.

Its not done perfectly, but you get the idea...

[Udi Koomran]

need to check these out !

It's probably just good engineering.

I see "John Barleycorn" was engineered by Steve Winwood and Chris Blackwell at Island Studios and Olympic Studios -- two fine studios, but in 1970 their technology wouldn't have been anything unusual. "The instruments are at a normal volume but the surrounding sounds and air seem to be cut way down" sounds like skillful use of compression perhaps.

Somebody like Udi Koomran -- who is a REAL engineer -- could probably give you the real scoop.

[Plasmatopia]

I've been marveling at the sound of the two Sloche albums I recently bought. I really like the timbre of (most) all the instruments and each is clearly defined. There is space in the mix between the instruments. Those albums were made 40 years ago and sound better than many modern recordings.

[IncogNeato]

Sounds like intentional lack of room sound.

[Scrotum Scissor]

I've been marveling at the sound of the two Sloche albums I recently bought. I really like the timbre of (most) all the instruments and each is clearly defined. There is space in the mix between the instruments. Those albums were made 40 years ago and sound better than many modern recordings.

Both sound great, but the production values (and/or remix) on Stadacone are simply sensationally fabulous and serve each tiny detail to optimal aim. Incredible music as well!

[Plasmatopia]

Both sound great, but the production values (and/or remix) on Stadacone are simply sensationally fabulous and serve each tiny detail to optimal aim. Incredible music as well!

The lead synth sound at the opening of La Cosmophile is one of the sweetest synth tones I've heard. Warm and not at all harsh like some plug-ins.