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RE: No squash please!
:: Posted by snkzato1 on January 21, 2015
Mr. Bloggulator I must assure you that this album is wondrous in the car, but you gotta crank it pretty high...not that I need a reason to blast One More Red Nightmare at dangerous volumes.
Iím sure someone else would also agree that íSailors Taleí is some seriously epic highway driving music. Nothing like blasting through the countryside with those amazing guitar swells and pounding bass.
Canít wait to hear more.
Lifted My Heart
:: Posted by DrEngel on January 20, 2015
I attended the Seattle concert. I had a ticket for my son, we had seen Crimson two other times. He had caught the devil flu and I was holding an extra ticket. Glory be, a chance conversation with a chap in a parking to elevator revealed not only was he unaware of the concert but was a raved fan! A quick exchange of fund for the face value and I had a new friend. Oh my soul, I never ever thought I would hear those great songs live. I would look over and my new friend was singing the words to the 73-74 era tunes. And then came íStarlessí. Iím not ashamed to admit the last crescendo brings a tear to my eye every time. Thank you so much Mr. Fripp.
2014 KC Live CD
:: Posted by Luminol on January 20, 2015
I just received my new copy of the 2014 tour live cd which I have eagerly awaited since I pre-ordered it a month ago. Much to my dismay it only has about half the live material from the show. I saw two of these shows (One at Albany and One at Boston) and they were fantastic. Best live music I have heard in a long long time. So why not release the whole show? Red, LTIA 1 and 2, Talking Drum, Schizoid Man? Oh man, why are they missing from the CD? I guess I am just curious about the decision to leave out so much. Perhaps holding it back for a 2014 live Part 2 release? Maybe to make each show available for download on DGM? I guess there are many possibilities and I do appreciate that RF has put this all together. I just donít understand the logic of putting out half a show.
:: Posted by fhc339835 on January 20, 2015
There is a lot of discussion and complaint in regard of the sound, very prominently here as well as on amazon.co.uk, amazon.it and amazon.de. I admit that I do not understand at all the technical details on compression and so on discussed here, as I have no knowledge of such stuff, and that I had my issues with the sound as well, not in regard to complaining that instruments are barely listenable (can happen on live recordings) or the bass box is jumping around, but more in a way of finding the right balance and atmosphere.
My way of fixing it (funnily enough I found out in the car) was to switch off treble and bass - brilliant! It is just the linear way.
My take on this is that Orpheum is not mixed like a rock recording, but a classical recording.
Earphones home, in ear plugs mp3 and car CD copy are working pretty well; I did not have the possibility to check hifi, I canít tell about, but I have no fear that the sound will be fine.
Maybe! Maybe, there is some learning curve: The last regular KC release was the verrrry powerful TPtB. Machine did an outstanding job on shattering mountains. 12 years later, itís not the time of nuveo metal any more, it is jazzy chamber rock music (with three drummers, believe it or not).
:: Posted by apisch on January 20, 2015
Just wondering why "One More Red Nightmare" had never been played live by King Crimson, until the #KC2014 Tour. Any wisdom out there?
I very much so enjoyed the rendition in Chicago on 26 September, and cannot wait for a recording of that night to be made available. #hinthint #nudgenudge
OMRN wasn't composed / finished until the band entered the studio to record Red.
Soundscapes For Sale
:: Posted by markvankempen on January 20, 2015
I would propose a separate RF website (but still within the portals of DGM) and a RF Soundscapes Cloud. But would it result in more Soundscape sales? Probably not.
RF is known as the guitarist from KC and the bloke who played with David Bowie. It would take more promotion as a solo artist for the soundscapes to become better known.
Compression should be the result of the player
:: Posted by acroyear on January 19, 2015
"it may be unsuitable for cars, or any other surrounding where the quiet passages are masked by ambient noise"
This is where a change in the technology is perhaps appropriate. The reaction to most music being played in cars or on earbuds as noise-drowners was to flatten the dynamics so one didnít have to hit the volume switch.
The REAL reaction should have been pushback from the music makers that the devices instead should have added the compression, as an end-user option, leaving the music alone so it could be adjusted, by the device, for the optimal playback for the environment it would be in.
Mind you, I suggested something like that back in 1997, but nobody ever listens to me. :)
:: Posted by acroyear on January 19, 2015
World Trade Center 2000 and the Big Chill shows of August 2005 tend to come to mind as my personal favs, as do some of the Estonia shows.
Live At The Orpheum
:: Posted by richardrogers on January 19, 2015
Iíve had two days to enjoy Live at The Orpheum, and itís been a truly revelatory and enjoyable listening experience. I was perplexed originally by the choosing to release a 40 minute ílive samplerí, rather than a complete gig. But I did understand the rationale behind it.
Having listened to the album though, I absolutely need to see this band if they play again. Even if last years wedding and my on-going chemo treatment have completely emptied my pockets, I will find a way to see this band.
The Islands era material is arguably the best itís ever sounded, One More Red Nightmareís live recording debut is impeccable and Starless is just incredible. All of the band sound as though theyíre at the top of their game, with Mel and Jakko making brilliant impressions. TCoL doesnít quite work, for me, but the first part is very, very good.
As for the much-discussed mastering, it is interesting, and it works, I think fantastically. Yes, it is íquieterí than most other recordings out there, but crank it up a bit and the range you can hear is perfect. You can decipher different drummers, there is space between each of the instruments, and it just sounds like a treat.
What they sound like playing Level 5 or VROOOM or LTiA (1 and 2) is just too tantalising a thought, and I need to hear this band.
No squash please!
:: Posted by bloggulator on January 19, 2015
To heighten my sense of anticipation comes word from fellow posters that the sound reflects the dynamics of the performance - unmolested by brick wall limiters and multi band compression algorithms. In other words, here we have a rarity amongst the standard "squashed-flat-as-the-proverbial-pancake" fare that has become the industry standard, and which marches in fashionable lockstep alongside its totalitarian partner in unmusicality - the "volume wars". As of yet, I havenít laid ears on "Orpheum" - but the prospect of an album where the music is permitted to breathe - is an exciting one indeed.
Yes, it may be unsuitable for cars, or any other surrounding where the quiet passages are masked by ambient noise. It may also not be suitable fare for the kitchen, elevators, stores, airports and restaurants. But is it possible to "listen" to music in those environments anyway? Perhaps people are confusing "hearing" with "listening"? Hearing music is unavoidable - the ears cannot be switched off - but the attention can be directed elsewhere. Listening, on the other hand, is a choice, where the attention is deliberately focussed on the music.
I go a theater to watch a movie, and get absorbed with the plot, the characters, the dynamics and development of the story, and its climax and conclusion. Theater staff request that you donít disturb other patrons; people universally donít appreciate being distracted by something else which interferes with their absorption of the movie. Itís the same with watching a football match, having a business meeting, eating dinner, or even having sex. So why has music being relegated, almost universally in todayís world, to "just another auditory input" fighting to compete with all the noise of everyday life? Does the fault lie with music, or perhaps because there is no visual input with the listening experience, we feel that just one sensory source (audio) is insufficient to mandate our undivided attention, when there is so much else going on in our overstimulating environment?
Just my 2 red kCents.
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