From Lukas Bergstrom Sent Tue, Oct 20th 1998, 05:41
From Lukas Bergstrom Sent Tue, Oct 20th 1998, 05:41
>Date: Mon, 19 Oct 1998 01:02:04 -0700 >From: "objet@" <xxxxxxxx@xxxxxxxxxx.xxx> >Subject: Re: (idm) Re: Tally Ho! >I've found some interesting things out in the process: take, for >example, a "fucking lush" track like Massive Attack's "Unfinished >Sympathy." If any track could be expected to be completely in tune to >the naked/casually listening ear, it would be this one -- but upon >trying to mix it with another track in perfectly identical key, strange >things happen -- discordances between the bassline, strings & piano in >the track suddenly become excruciatingly evident. Aww, _shit_. I always heard something slightly off about this track, without even thinking about it....now it's going to plague me every time I put it on. Worse, I find it very difficult to believe they did it on purpose. I think the kind of fiddling you're doing has actually made musicians less careful about this, actually. If you're recording all of the parts separately, and you can change pitch and speed independently, why worry about tuning all that much? Lukas