of Mauro Boccuni
In the post published yesterday, ending My argument with the need to bring the "debate" with an argument pointing from three perspectives.
The first is that historical perspective. Most of the musical production of the year senssanta was designed for the publication of the 45 laps (and LP) in mono version .
I produttori discografici e i musicisti elaboravano quindi un suono ottimizzato per garantire l'impatto più efficace possibile attraverso le strumentazioni disponibili in studio pensate per i giradischi domestici.
Da questo punto di vista, i master dei Beatles non fanno eccezione alla regola.
George Martin ( nella foto, accanto alla consolle di registrazione/missggio ) produceva il missaggio innanzitutto in monofonia perché questo sarebbe stato utilizzato per le stampe dei 45 giri in Inghilterra e in Europa.
Dal 1965 in poi, con la crescente commercializzazione degli stereo equipment in America, even Martin would be asked to produce the stereo versions of the repertoire of the quartet from Liverpool. Accomplices technologies still inadequate and therefore the lack of necessary technical expertise and artistic conception of a different kind of mix of music, the stereo versions of the Beatles became a hasty processing - the basic track on one side and other entries - four of useful signals to produce a good product but mono.
The output signals were mixed by four because the recording technology was based on the use of multitrack tape recorders four-track.
What was a four-track and multitrack recording what I will write in a special post for more detail from an artistic point of view why. For example, it is a miracle when mentioning album pop / rock than fifty years ago that a modern listener considers ONLY as cornerstones of the repertoire of the 20th century.
The second perspective is what I have called aesthetic perceptiveness a. I refer in particular to the affirmation in the seventies, a production method suitable for the development of stereo as we understand and appreciate today.
producers and musicians can finally introduce in addition to the observation deck the development of depth. In practice the simulation of a sound environment "virtual" where two-sided, foreground and background picture become a reality in expression can enhance the performance.
An example that provides insight into the quantum leap in terms of perception is the microphones for recording drums .
Battery Ringo Starr during the period 62/63- from photographic sources - is being shot with a single microphone panoramic premixed and its registration was being recorded on one track together with a low and guitar, the one rhythm.
A standard pattern of recovery of the battery of a rock band - from literature sources - the seventies included not less than six microphones assigned respectively to the bass drum, the snare, the hi-hat, the two tom toms, and the eardrum 'last in the plates.
Each of these microphones were then associated with a runway of the first six of the 24-track recorder, offering the player the chance to make a true stereo mix of drums, that is to have well six distinct signals on the rhythmic scene right / left .
All this taking into account the potential arising from the process of equalization of the signal which I will not write in questa sede.
Questo esempio però chiarisce il salto estetico/percettivo che le due tecnologie - qualle mono e quella della stereofonia "reale"- offrivano al rock.
Arriviamo quindi all'oggetto del nostro contendere: mono o stereo?
Stereo: dopo cinquant'anni è diventato sinonimo di standard di ascolto della musica.
Se fino a soli 25 anni fa molti ancora rispettavano la volontà di apprezzarne i benefici regalandosi un'ora di ascolto dinanzi al proprio impianto domestico, oggi sono pronto a scommettere che la maggior parte delle persone non sarebbe in grado di distinguere la differenza tra i due tipi di ascolto.
La stereofonia è dovunque in machine, in 'I-pod walkman as in my generation, in television, in radio in pc. The boys feel
music divides the headphones, the driver is focused on driving and too far left, environmental noise is such an I-pod to play a decent song without the help of a corrective equalization.
speakers of televisions and radios are too close to appreciate the distribution environment.
then? Mono or stereo has now become a matter of taste than the best yield of a kind, or a particular execution.
The origins of the rock, to Berry, Little, Richards, Fats Domino, Elvis, Buddy Holly, Eddie Cochran, Jerry Lee Lewis, Spector's wall of sound, Motown, Stax, and then I Fab, the Stones , The Who & C . they sound great in mono sound because it is a compact, energetic, strong and aggressive.
no details were needed that would require acrobatics technology room. The record in descending
juke box and danced as all the hotheads.
What came out of the speaker was coming to the pelvic area of \u200b\u200bthe group, horny as hell. The rest did not matter.
When the music starts to get old and requires great more attention to his listeners, the question changes.
But I have both the master of the new editions of the Beatles and I must say that the professionalism achieved by Martin in the mix in mono, which was just the standard of the time, also makes excellent albums of the years of the study as Revolver, Pepper, MMTour and White .
today I believe that if the disk of 50 cents Mika came out in mono or not anyone would notice.
"No more-than-you-hear!"
symphony orchestra recorded in ambient surround or an album of Biork or Sigur Ros in stereo (or 5.1) depend artististicamente technology also helps the artists to transform into a creative tool, thanks to their talent.
I also have the version 5.1 of Love is the event that the Cirque du Soleil built on the music of the Fab.
This version adds nothing to the performance as "ambient" already in the score, the creative imagination of the years of study and the sound that still teaches everything a host of new artists
So I conclude this post by writing that the Beatles, I , on the whole more like mono.
Why is the sound as they had intended.
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