Non-Classical Album of the Year

[Harry Lavo]

Thought you folks here might find the following tidbit interesting, as
included in the Sept 2003 issue of EQ magazine.

Norah Jones album "Come Away with Me" won Album of the Year (non-classical)
as well as Best Engineered Album (non-classical). The album (available on CD
and SACD, and perhaps on vinyl as well) is noted for its "she is here" vocal
intimacy and transparency. The recording engineer (Jay Newland) said the
objective was to "take a beautiful voice and have it sound as natural as
possible". The recording chain of choice for the album: Neumann M-49
into a Manley tube mic pre and then into a Manley Vari-mu compressor (also
tube) with fast attack/release setting. This went to BASF 900 analog tape at
15ips on a Studer 820 with Dolby SR noise reduction.

Commenting on his choice of the Manley tube gear, Newland said "the (Manley)
tube pre was ...warm but a little less colored...." and "the Vari-mu can
also be very transparent, which is why I liked it for this application".

Interesting that 2003's "Best Engineered Album" should use "obsolete"
technology identical to that used on those great early- 70's pop albums in
order to have it "sound as natural as possible."



--
Harry. Lavo
"it don't mean a thing if it ain't got that swing" - Duke Ellington

[Nousaine]

"Harry Lavo" wrote:



>
>Thought you folks here might find the following tidbit interesting, as
>included in the Sept 2003 issue of EQ magazine.
>
>Norah Jones album "Come Away with Me" won Album of the Year (non-classical)
>as well as Best Engineered Album (non-classical). The album (available on CD
>and SACD, and perhaps on vinyl as well) is noted for its "she is here" vocal
>intimacy and transparency. The recording engineer (Jay Newland) said the
>objective was to "take a beautiful voice and have it sound as natural as
>possible". The recording chain of choice for the album: Neumann M-49
>into a Manley tube mic pre and then into a Manley Vari-mu compressor (also
>tube) with fast attack/release setting. This went to BASF 900 analog tape at
>15ips on a Studer 820 with Dolby SR noise reduction.
>
>Commenting on his choice of the Manley tube gear, Newland said "the (Manley)
>tube pre was ...warm but a little less colored...." and "the Vari-mu can
>also be very transparent, which is why I liked it for this application".
>
>Interesting that 2003's "Best Engineered Album" should use "obsolete"
>technology identical to that used on those great early- 70's pop albums in
>order to have it "sound as natural as possible."
>
>
>
>--
>Harry. Lavo
>"it don't mean a thing if it ain't got that swing" - Duke Ellington

I wonder how much of that gear the producers actually paid for. I know a highly
respected recording engineer who noted in response to an inquiry that liner
notes on his recordings carry the name of a well known cable manufacturer.

He stated in plain terms that the company installed a new cabling system for a
studio addition at no cost in return for putting their name in liner notes.

When I asked if the cabling improved the sound he said 'not that I could tell.'

[Bruce Abrams]

Aside from the oxymoron that the pre-amp was "warm but less colored."

"Nousaine" > wrote in message
...
> "Harry Lavo" wrote:
>
>
>
> >
> >Thought you folks here might find the following tidbit interesting, as
> >included in the Sept 2003 issue of EQ magazine.
> >
> >Norah Jones album "Come Away with Me" won Album of the Year
(non-classical)
> >as well as Best Engineered Album (non-classical). The album (available on
CD
> >and SACD, and perhaps on vinyl as well) is noted for its "she is here"
vocal
> >intimacy and transparency. The recording engineer (Jay Newland) said the
> >objective was to "take a beautiful voice and have it sound as natural as
> >possible". The recording chain of choice for the album: Neumann M-49
> >into a Manley tube mic pre and then into a Manley Vari-mu compressor
(also
> >tube) with fast attack/release setting. This went to BASF 900 analog tape
at
> >15ips on a Studer 820 with Dolby SR noise reduction.
> >
> >Commenting on his choice of the Manley tube gear, Newland said "the
(Manley)
> >tube pre was ...warm but a little less colored...." and "the Vari-mu can
> >also be very transparent, which is why I liked it for this application".
> >
> >Interesting that 2003's "Best Engineered Album" should use "obsolete"
> >technology identical to that used on those great early- 70's pop albums
in
> >order to have it "sound as natural as possible."
> >
> >
> >
> >--
> >Harry. Lavo
> >"it don't mean a thing if it ain't got that swing" - Duke Ellington
>
> I wonder how much of that gear the producers actually paid for. I know a
highly
> respected recording engineer who noted in response to an inquiry that
liner
> notes on his recordings carry the name of a well known cable manufacturer.
>
> He stated in plain terms that the company installed a new cabling system
for a
> studio addition at no cost in return for putting their name in liner
notes.
>
> When I asked if the cabling improved the sound he said 'not that I could
tell.'
>

[All Ears]

"Harry Lavo" > wrote in message
...
> Thought you folks here might find the following tidbit interesting, as
> included in the Sept 2003 issue of EQ magazine.
>
> Norah Jones album "Come Away with Me" won Album of the Year
(non-classical)
> as well as Best Engineered Album (non-classical). The album (available on
CD
> and SACD, and perhaps on vinyl as well) is noted for its "she is here"
vocal
> intimacy and transparency. The recording engineer (Jay Newland) said the
> objective was to "take a beautiful voice and have it sound as natural as
> possible". The recording chain of choice for the album: Neumann M-49
> into a Manley tube mic pre and then into a Manley Vari-mu compressor (also
> tube) with fast attack/release setting. This went to BASF 900 analog tape
at
> 15ips on a Studer 820 with Dolby SR noise reduction.
>
> Commenting on his choice of the Manley tube gear, Newland said "the
(Manley)
> tube pre was ...warm but a little less colored...." and "the Vari-mu can
> also be very transparent, which is why I liked it for this application".
>
> Interesting that 2003's "Best Engineered Album" should use "obsolete"
> technology identical to that used on those great early- 70's pop albums in
> order to have it "sound as natural as possible."

To my ears, tubes does some good to many recordings. I also blame the
recording studios for doing a lousy job in too many recordings, mixings and
whatever they do to "improve" the sound.

My theory is that the biggest problem with transparent audio reproduction
equipment, is the source material.

KE


>
>
>
> --
> Harry. Lavo
> "it don't mean a thing if it ain't got that swing" - Duke Ellington

[Harry Lavo]

> wrote in message
news:U0X2b.273374$uu5.61876@sccrnsc04...
> Harry Lavo writes:
> >
> > Norah Jones album "Come Away with Me" won Album of the Year
> > (non-classical) as well as Best Engineered Album
> > (non-classical). The album (available on CD and SACD, and perhaps
> > on vinyl as well) is noted for its "she is here" vocal intimacy and
> > transparency. The recording engineer (Jay Newland) said the
> > objective was to "take a beautiful voice and have it sound as
> > natural as possible". The recording chain of choice for the album:
> > Neumann M-49 into a Manley tube mic pre and then into a Manley
> > Vari-mu compressor (also tube) with fast attack/release
> > setting. This went to BASF 900 analog tape at 15ips on a Studer 820
> > with Dolby SR noise reduction.
> >
> > Interesting that 2003's "Best Engineered Album" should use
> > "obsolete" technology identical to that used on those great early-
> > 70's pop albums in order to have it "sound as natural as possible."
>
> Dolby SR ain't identical to anything available in the early 70s.
> People might like nice warm analog sound, but good old fashioned tape
> hiss would rather spoil it.
>

Four-band professional Dolby A was in use from about 1968 on. I used it
myself from 1971-75 when doing location recording and still have a pair
hitched to my Ampex 440B. The SR was simply a lower per channel cost, more
convenient upgrade of that system, I believe.

[Harry Lavo]

John -

Glad to hear it. With the reputation Millenia's preamps have, I suspect you
don't have to give them away. Not sure Manley does either.

As to warmth versus ??, I suspect (but do not know for sure) that he was
simply reacting to the tube characteristics and not actually to any kind of
frequency bump. But I agree it is a somewhat contradictory juxtaposition.

Harry

BTW for those of you who don't know, John's Millenia HV series preamps are
considered the most quiet and neutral preamps in the industry and have a
tremendous reputation and following. They are transistor-based with no
apologies needed. He also makes tube preamps.

"John La Grou" > wrote in message
news:Z0X2b.271243$YN5.186106@sccrnsc01...
> On Tue, 26 Aug 2003 05:39:30 GMT, "Harry Lavo" >
> wrote:
>
> >This has invaded the whole recording industry. Notice that most releases
> >now include long lists of brand names used by the musicians...those are
> >paid.
>
> Harry,
>
> One noteworthy exception is Telarc -- who have for decades listed each
> device in their recording and mastering chain. I can tell you that
> Telarc pays for their equipment, at least the equipment they order
> from us.
>
> Moreover, we have never given away or, worst, paid to have our
> equipment used. Perhaps we're an anachronism..
>
> John La Grou
> Millennia Media, Inc.
> http://www.mil-media.com
>
> (p.s., I also found it amusing that an engineer looking for a
> "natural" sound selected a "warm" micamp. Not that the end result
> wasn't musically rich and beautiful, but "euphonic" and "accurate" are
> usually mutually exclusive audio ideas.)
>

[[email protected]]

Harry Lavo writes:
> > wrote in message
> news:U0X2b.273374$uu5.61876@sccrnsc04...
> >
> > Dolby SR ain't identical to anything available in the early 70s.
> > People might like nice warm analog sound, but good old fashioned tape
> > hiss would rather spoil it.
>
> Four-band professional Dolby A was in use from about 1968 on. I
> used it myself from 1971-75 when doing location recording and still
> have a pair hitched to my Ampex 440B. The SR was simply a lower
> per channel cost, more convenient upgrade of that system, I
> believe.

My understanding is that Dolby SR (1986) has significantly superior
dynamic range. I remember reading that Ray Dolby was very proud of
the system, and in interviews said he thought it was his greatest
achievement. So no, I don't believe Dolby SR was technology identical
to that used on those great early-70's pop albums, although I've never
used it myself.

Andrew.