А в том, что автор песни не P. Anderson (Пит Андерсон, который старый друг Мирки ещё с времён Оптимистов https://www.freetorockmovie.com/pete-anderson-in-memoriam.html ), а F. Zappa (Фрэнк Заппа). Мне кажется, это единственный раз, когда его песня издана "Мелодией". Или я ошибаюсь?
Как я уже писал, у меня нет данных, что вообще с первого тура что-нибудь показывали. Сейчас надо будет по другому относиться фразе "На места выедут представители телевидения".
Re: Рок-музыка в Эстонской ССР. Автор:tupzemДата: 16.06.19 21:13:58
>Понятно. Значит то ,что я видел по телеку и записал на маг осенью 1966 -го был какой-то другой конкурс ...
А это точно было осенью 1966-го, а не весной 1967-го?
>Вот бы найти в телепрограмме (не исключаю,что это было по Центральному ТВ).
Исключительно маловероятно, что по Центральному ТВ. Телепрограммы тоже не точные. Например "Kontrastid" должны были быть в пятой программе второго тура, но их там не было.
Re: Рок-музыка в Эстонской ССР. Автор:tupzemДата: 16.06.19 17:43:58
>Мне кажется,что на снимках выступления Контрастов в первом и втором туре. Первый в родном Доме Культуры профсоюзов осенью 1966-го. Оно скорее всего и было показано по телеку, тогда они выступили с инструментальным номером "Утро контрастов" (я его записал на маг).
Да, снимки с разных событии, но у меня нет данных, что вообще с первого тура что-нибудь показывали. Интересно, что в списке телегазеты они проходят как "Tartu a/ü kultuurihoone kitarristid".
>Ещё у них была подготовлена песня, но её не разрешили спеть, потому что она была на английском. Поэтому на сцене и нет вокалиста Александра Мюллера и микрофонов. Второй тур обставлен по-культурней, на сцене почти ничего "лишнего", все строго одеты (на первом больше хаотичности).
Нет, дело не в языке, а в том, что была конкурсная категория инструментальных ансамблей и НИКТО не пел. Двумя инструменталами они были в шестой передаче второго тура.
Re: Рок-музыка в Эстонской ССР. Автор:tupzemДата: 15.06.19 19:53:57
However, as an indicator of the size of effort required, he notes, "There is only one cutting lathe in the whole of the ex-Soviet Union to service six [LP pressing] plants ...
GM: The kid who wants into it thinks he has a chance of being number one. He thinks he's going to buy that ticket, too. The other problem is that standards have gone up generally, so it's very hard to break through.
Tom: It is getting to the point a garage band can't break into recording?
GM: I don't think so. I think there is always room, particularly now. Trends reach plateaus; we're in a plateau now. There's a greal deal of very good music, but nothing is utterly fantastic. Obviously it's difficult to break through because the level of quality is so high.
Tom: What do you think of disco?
GM: It's super. I love it, I love dancing to disco ... well, I better put 'moving to disco,' I really can't dance. As a body propellent I think it's great.
Tom: Do you see it being with us for a while?
GM: Like all things it has an influence on music. And like all things it will have an effect on all kinds of music. It's a good tool to use.
Tom: Are you interested in someday becoming the president of your own record company again?
GM: Oh, God! Well, what do you do when you get too old and sick and tired to make records? I think it's obvious I have a role to play in the record business somewhere. I'm quite happy doing what I'm doing at the moment.
Re: George Martin: 50 Years In Recording Автор:tupzemДата: 29.03.19 10:45:00
Tom Lubin: In 1971 you were interviewed by R-e/p. Many things which you felt would be a part of the future of recording have come to pass. One of them was the emergence of video as an integral part of a musical presentation.
George Martin: Sure, it was bound to happen. I must confess that if I said that seven years ago I was being a bit premature. It hasn't been all that fast. It's a question of economics rather than the arts. And what people are prepared to pay for it.
Tom Lubin: Air was the first studio in London to have the capabilities to do both recording for records and for video.
George Martin: That's true.
Tom: Where do you see the direction of technology?
GM: Well, digital is going to be here. When we were talking about Montserrat, the reason I said I didn't want to go digital ... I think the degree of sophistication on our new Neve is about as complicated as I want to go on a desk and about as big as I want to go before I go to digital. Digital is now in its infancy and we've been guinea pigs for an awful lot of years. We're letting other people be the guinea pigs this time. In three or four years we'll take all the hard lessons learned by other people and use it where it's properly used. In any case I think digital recording will only come into its own when it becomes completely integrated with the desk. I think just having a digital machine connected up to an analog desk doesn't make too much sense to me. That's just cutting down on your noise a little bit; but that isn't a major problem. I think when the tape machine is an integral part of the console, and it's a completely computerized unit which can do things that you can't do now, like synthetically process an echo sound that imitates "Heartbreak Hotel" without an echo unit ... that kind of thing. Then it will make sense. But that's aways off. I heard the Soundstream stuff about two years ago, but I'm afraid I haven't kept up with the latest developments in digital technology. I've obviously read about them, but there isn't all that much development. I'm a bit surprised that the development hasn't been quicker.
The Record Pressing Problem
Tom: Would you care to comment on the quality of pressings?
GM: It's a hell of a problem 'cause you never know about it. We spend hours in the studio getting a great sound. We take a lot of trouble, and because we don't want it to go into the hands of an idiot, we go along and we have it cut by someone we like and know well. We know what he does, so we spend more hours with him in the cutting room to get the lacquer right and then we approve them. Then we hear a test pressing and it sounds good ... fine. But what we don't hear is what happens to the thirty-second run at the Scranton plant, or what happens in Turkey. Or what happens when the tapes are shipped to Japan. We do hear eventually. I've heard some ghastly reproductions of something I've done. Christ! How'd that ever get out! And I know for a fact that an awful lot of records that get out in this country bear no resemblance to the record we've made. They're issued that way and people buy them because they don't know the difference. I never hear them because I don't buy records at a store in Pennsylvania to see if my "Blow by Blow" is good enough, and I'm sure it isn't. Quality control is a hell of a problem because we don't know how good or bad it is. The record manufacturers really don't know. And I guess when it comes down to it the economics of the thing are pretty paramount.
Tom: What can artists, producers, engineers, or even the consumer do about it?
GM: They can only make noises to the record companies. The record companies can only make sure that their quality control is stepped up so that they don't issue too many duff records. But, then, there are always alibis. The record company can give the artist a perfect copy, saying that it just came out of the Scranton plant and there's no way that they'll ever get any better than that. Though the company knows perfectly well that all the records being pressed are full of carbon dust, or whatever.
Tom: Are their reasons legitimate – or are we expecting too much?
GM: I don't think we're expecting too much, no. But in relation to today's civilization it's just like buying a car. You'll get your Friday one as well as good ones. You buy a car from Ford and the advertisements look great. Then you take it on the highway and you find that the throttle cable is sticking. There's no way that you can do it except by attention to detail all the way down the line. Those people doing those terrible, boring jobs just have to do it a bit better. It's a big problem, and I don't think that it can be overcome very easily.
Tom: What do you say to people who write you letters. "Mr. Martin: How do I get into the business?"
GM: Don't. Too many people want to get into the business, that's one of the problems. An outside viewer of our business really has no idea what he's getting into. You don't have football pools in this country, do you? You have some kind of gambling?