[Rockinghorse Winner[_5_]]

I enjoy the original mono recording of an album from the 60's to the stereo
remix. I was wondering why. Things just sound better. I was wondering if
this is due to better soundstaging in the original, or some other reason.
Can mono recordings even be said to *have* a soundstage?

[Boon[_2_]]

On Apr 26, 1:20*pm, Rockinghorse Winner wrote:
I enjoy the original mono recording of an album from the 60's to the stereo
remix. I was wondering why. Things just sound better. I was wondering if
this is due to better soundstaging in the original, or some other reason.
Can mono recordings even be said to *have* a soundstage?

On pop and rock recordings of the time, they generally spent more time
on the mono mixes than the stereo mixes because the target demographic
would most likely play the records on a monaural record player. Back
then, most audiophiles were strictly jazz and classical listeners,
which is why jazz and classical recordings from the late 50s and early
60s sound so wonderful on modern audio systems.

For instance, when Sgt. Pepper was mixed in mono, the Beatles and
George Martin spent a week doing the mixes. The Beatles weren't even
in the studio when the stereo mixes were done.

[Shhhh! I'm Listening to Reason!]

On Apr 26, 2:29*pm, Boon wrote:
On Apr 26, 1:20*pm, Rockinghorse Winner wrote:

I enjoy the original mono recording of an album from the 60's to the stereo
remix. I was wondering why. Things just sound better. I was wondering if
this is due to better soundstaging in the original, or some other reason.

[MiNe 109]

In article
,
"Shhhh! I'm Listening to Reason!" wrote:

On Apr 26, 2:29*pm, Boon wrote:
On Apr 26, 1:20*pm, Rockinghorse Winner wrote:

I enjoy the original mono recording of an album from the 60's to the
stereo
remix. I was wondering why. Things just sound better. I was wondering if
this is due to better soundstaging in the original, or some other reason.
Can mono recordings even be said to *have* a soundstage?

On pop and rock recordings of the time, they generally spent more time
on the mono mixes than the stereo mixes because the target demographic
would most likely play the records on a monaural record player. Back
then, most audiophiles were strictly jazz and classical listeners,
which is why jazz and classical recordings from the late 50s and early
60s sound so wonderful on modern audio systems.

For instance, when Sgt. Pepper was mixed in mono, the Beatles and
George Martin spent a week doing the mixes. The Beatles weren't even
in the studio when the stereo mixes were done.

Did they ever do that "electronically reprocessed for stereo effect"
to change mono recordings into "stereo" on rock LPs? The classical
recordings they did that to sound horrible IMO.

Yes! The quickly withdrawn early eighties Elvis cds for example.

Stephen

[Shhhh! I'm Listening to Reason!]

On Apr 26, 7:09*pm, MiNe 109 wrote:
In article
,
*"Shhhh! I'm Listening to Reason!" wrote:





On Apr 26, 2:29 pm, Boon wrote:
On Apr 26, 1:20 pm, Rockinghorse Winner wrote:

I enjoy the original mono recording of an album from the 60's to the
stereo
remix. I was wondering why. Things just sound better. I was wondering if
this is due to better soundstaging in the original, or some other reason.
Can mono recordings even be said to *have* a soundstage?

On pop and rock recordings of the time, they generally spent more time
on the mono mixes than the stereo mixes because the target demographic
would most likely play the records on a monaural record player. Back
then, most audiophiles were strictly jazz and classical listeners,
which is why jazz and classical recordings from the late 50s and early
60s sound so wonderful on modern audio systems.

For instance, when Sgt. Pepper was mixed in mono, the Beatles and
George Martin spent a week doing the mixes. The Beatles weren't even
in the studio when the stereo mixes were done.

Did they ever do that "electronically reprocessed for stereo effect"
to change mono recordings into "stereo" on rock LPs? The classical
recordings they did that to sound horrible IMO.

Yes! The quickly withdrawn early eighties Elvis cds for example.

Elvis probably sued them. I saw him last week at a flea market buying
socks.

[Boon[_2_]]

On Apr 26, 6:24*pm, "Shhhh! I'm Listening to Reason!"
wrote:
On Apr 26, 2:29*pm, Boon wrote:





On Apr 26, 1:20*pm, Rockinghorse Winner wrote:

I enjoy the original mono recording of an album from the 60's to the stereo
remix. I was wondering why. Things just sound better. I was wondering if
this is due to better soundstaging in the original, or some other reason.
Can mono recordings even be said to *have* a soundstage?

On pop and rock recordings of the time, they generally spent more time
on the mono mixes than the stereo mixes because the target demographic
would most likely play the records on a monaural record player. Back
then, most audiophiles were strictly jazz and classical listeners,
which is why jazz and classical recordings from the late 50s and early
60s sound so wonderful on modern audio systems.

For instance, when Sgt. Pepper was mixed in mono, the Beatles and
George Martin spent a week doing the mixes. The Beatles weren't even
in the studio when the stereo mixes were done.

Did they ever do that "electronically reprocessed for stereo effect"
to change mono recordings into "stereo" on rock LPs? The classical
recordings they did that to sound horrible IMO.

I can remember hearing some back in the 70s, but I haven't seen any in
a really long time. And yes, they sounded dreadful.

[Boon[_2_]]

On Apr 26, 9:34*pm, "Shhhh! I'm Listening to Reason!"
wrote:
On Apr 26, 7:09*pm, MiNe 109 * wrote:





In article
,
*"Shhhh! I'm Listening to Reason!" wrote:

On Apr 26, 2:29 pm, Boon wrote:
On Apr 26, 1:20 pm, Rockinghorse Winner wrote:

I enjoy the original mono recording of an album from the 60's to the
stereo
remix. I was wondering why. Things just sound better. I was wondering if
this is due to better soundstaging in the original, or some other reason.
Can mono recordings even be said to *have* a soundstage?

On pop and rock recordings of the time, they generally spent more time
on the mono mixes than the stereo mixes because the target demographic
would most likely play the records on a monaural record player. Back
then, most audiophiles were strictly jazz and classical listeners,
which is why jazz and classical recordings from the late 50s and early
60s sound so wonderful on modern audio systems.

For instance, when Sgt. Pepper was mixed in mono, the Beatles and
George Martin spent a week doing the mixes. The Beatles weren't even
in the studio when the stereo mixes were done.

Did they ever do that "electronically reprocessed for stereo effect"
to change mono recordings into "stereo" on rock LPs? The classical
recordings they did that to sound horrible IMO.

Yes! The quickly withdrawn early eighties Elvis cds for example.

Elvis probably sued them. I saw him last week at a flea market buying
socks.

That's funny...just a few minutes ago I was telling someone about
Scott Walker's "Jesse" from the album The Drift. Elvis was actually
born a twin, but the other baby was stillborn. Still, they named it
Jesse. Apparently Elvis used to "talk" to Jesse a lot when he was
feeling lonely. Anyway, the Scott Walker song is told from the
viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

[Bret L]

Anyway, the Scott Walker song is told from the
viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

[Jenn[_2_]]

In article
,
Bret L wrote:

Anyway, the Scott Walker song is told from the
viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

We had joy, we had fun, we had seasons in the sun
But the stars we could reach were just starfish on the beach

lol

[Bret L]

On Apr 27, 12:44*am, Jenn wrote:
In article
,
*Bret L wrote:

*Anyway, the Scott Walker song is told from the
viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

*It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

We had joy, we had fun, we had seasons in the sun
But the stars we could reach were just starfish on the beach

lol

You know....I really wish I had written that song. It was sappy,
maudlin and morose but it sold a lot of records and people still
remember it. It's up there with "The Lion Sleeps Tonight" for
stickiness.

[Shhhh! I'm Listening to Reason!]

On Apr 27, 2:13*am, Bret L wrote:
On Apr 27, 12:44*am, Jenn wrote:





In article
,
*Bret L wrote:

*Anyway, the Scott Walker song is told from the
viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

*It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

We had joy, we had fun, we had seasons in the sun
But the stars we could reach were just starfish on the beach

lol

*You know....I really wish I had written that song. It was sappy,
maudlin and morose but it sold a lot of records and people still
remember it. It's up there with "The Lion Sleeps Tonight" for
stickiness.

It would not have done well in the neo-Nazi market.

Maybe you should write a song called "Mein Jackboots are More
Comfortable With My Dr. Scholl's Inserts".

[MiNe 109]

In article
,
"Shhhh! I'm Listening to Reason!" wrote:

On Apr 27, 2:13*am, Bret L wrote:
On Apr 27, 12:44*am, Jenn wrote:





In article
,
*Bret L wrote:

*Anyway, the Scott Walker song is told from the
viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

*It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

We had joy, we had fun, we had seasons in the sun
But the stars we could reach were just starfish on the beach

lol

*You know....I really wish I had written that song. It was sappy,
maudlin and morose but it sold a lot of records and people still
remember it. It's up there with "The Lion Sleeps Tonight" for
stickiness.

It would not have done well in the neo-Nazi market.

Maybe you should write a song called "Mein Jackboots are More
Comfortable With My Dr. Scholl's Inserts".

Klaus Hoffmann - Adieu Emile:

http://www.youtube.com/watch?v=jluOHc9KE5g

Stephen

[Boon[_2_]]

On Apr 27, 12:40*am, Bret L wrote:
*Anyway, the Scott Walker song is told from the

viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

*It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

That's not even close to a legitimate observation.

[MiNe 109]

In article
,
Boon wrote:

On Apr 27, 12:40*am, Bret L wrote:
*Anyway, the Scott Walker song is told from the

viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

*It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

That's not even close to a legitimate observation.

Maybe he means the ominous tremolo guitar. Of course, the similarity
ends there.

Since Link Wray says he didn't play on SitS, I wonder if Terry Jacks
did. IIRC, the Beach Boys version had a similar effect and Jacks was
part of that recording.

Stephen

[Boon[_2_]]

On Apr 27, 9:01*am, MiNe 109 wrote:
In article
,

*Boon wrote:
On Apr 27, 12:40 am, Bret L wrote:
Anyway, the Scott Walker song is told from the

viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

That's not even close to a legitimate observation.

Maybe he means the ominous tremolo guitar. Of course, the similarity
ends there.

Since Link Wray says he didn't play on SitS, I wonder if Terry Jacks
did. IIRC, the Beach Boys version had a similar effect and Jacks was
part of that recording.

Stephen

Nose holes caked in black cocaine
Pow! Pow!
No one holds a match to your skin
No dupe
No chiming
A way off miles off
No needle through a glove
Famine is a tall tower
A building left in the night
Jesse are you listening?
It casts its ruins in shadows
Under Memphis moonlight
Jesse are you listening?
Six feet of foetus
Flung at sparrows in the sky
Put yourself in my shoes
A kiss, wet, muzzle
A clouded eye
No stars to flush it out
Famine is a tall tower
A building left in the night
Jesse are you listening?
It casts its ruins in shadows
Under Memphis moonlight
Jesse are you listening?
Pow! Pow!
In the dream
I am crawling around in my hands and knees
smoothing out the prairie
All the dents and the gouges
And the winds dying down
I lower my head
Press my ear to the prairie
Alive, I'm the only one
Left alive
I'm the only one
Left alive
I'm the only one
Left alive
Alive
I'm the only one
Left alive
I'm the only one
Left alive
I'm the only one
Left alive

Yeah, that reminds me of "Seasons in the Sun" alright.

I do see the very fleeting similarity in the guitar,

[Shhhh! I'm Listening to Reason!]

On Apr 27, 7:04*am, MiNe 109 wrote:
In article
,
*"Shhhh! I'm Listening to Reason!" wrote:





On Apr 27, 2:13*am, Bret L wrote:
On Apr 27, 12:44*am, Jenn wrote:

In article
,
*Bret L wrote:

*Anyway, the Scott Walker song is told from the
viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

*It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

We had joy, we had fun, we had seasons in the sun
But the stars we could reach were just starfish on the beach

lol

*You know....I really wish I had written that song. It was sappy,
maudlin and morose but it sold a lot of records and people still
remember it. It's up there with "The Lion Sleeps Tonight" for
stickiness.

It would not have done well in the neo-Nazi market.

Maybe you should write a song called "Mein Jackboots are More
Comfortable With My Dr. Scholl's Inserts".

Klaus Hoffmann - Adieu Emile:

http://www.youtube.com/watch?v=jluOHc9KE5g

That brought a tear to mein eyes.

I wonder if there any audiophile recordings of him. A quick search
didn't show any. :-(

[Shhhh! I'm Listening to Reason!]

On Apr 27, 10:00*am, Boon wrote:
On Apr 27, 9:01*am, MiNe 109 * wrote:





In article
,

*Boon wrote:
On Apr 27, 12:40 am, Bret L wrote:
Anyway, the Scott Walker song is told from the

viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

That's not even close to a legitimate observation.

Maybe he means the ominous tremolo guitar. Of course, the similarity
ends there.

Since Link Wray says he didn't play on SitS, I wonder if Terry Jacks
did. IIRC, the Beach Boys version had a similar effect and Jacks was
part of that recording.

Stephen

Nose holes caked in black cocaine
Pow! Pow!
No one holds a match to your skin
No dupe
No chiming
A way off miles off
No needle through a glove
Famine is a tall tower
A building left in the night
Jesse are you listening?
It casts its ruins in shadows
Under Memphis moonlight
Jesse are you listening?
Six feet of foetus
Flung at sparrows in the sky
Put yourself in my shoes
A kiss, wet, muzzle
A clouded eye
No stars to flush it out
Famine is a tall tower
A building left in the night
Jesse are you listening?
It casts its ruins in shadows
Under Memphis moonlight
Jesse are you listening?
Pow! Pow!
In the dream
I am crawling around in my hands and knees
smoothing out the prairie
All the dents and the gouges
And the winds dying down
I lower my head
Press my ear to the prairie
Alive, I'm the only one
Left alive
I'm the only one
Left alive
I'm the only one
Left alive
Alive
I'm the only one
Left alive
I'm the only one
Left alive
I'm the only one
Left alive

Yeah, that reminds me of "Seasons in the Sun" alright.

I do see the very fleeting similarity in the guitar,

((Jesus Christ you're stupid. First you say there's no comparison,
then you say there's a superficial fleeting similarity. Make up your
****ing mind. Shhhh!))

[Boon[_2_]]

On Apr 28, 12:48*am, "Shhhh! I'm Listening to Reason!"
wrote:
On Apr 27, 10:00*am, Boon wrote:





On Apr 27, 9:01*am, MiNe 109 * wrote:

In article
,

*Boon wrote:
On Apr 27, 12:40 am, Bret L wrote:
Anyway, the Scott Walker song is told from the

viewpoint of Elvis as he's watching 9/11 unfold on his TV. At the end
of the song he screams to Jesse, "I'm the only one left alive! I'm the
only one left alive!" It's a ****ed up, brilliant song.

It's ****ed up alright, but hardly brilliant. It reminds me of
"Seasons In The Sun".

That's not even close to a legitimate observation.

Maybe he means the ominous tremolo guitar. Of course, the similarity
ends there.

Since Link Wray says he didn't play on SitS, I wonder if Terry Jacks
did. IIRC, the Beach Boys version had a similar effect and Jacks was
part of that recording.

Stephen

Nose holes caked in black cocaine
Pow! Pow!
No one holds a match to your skin
No dupe
No chiming
A way off miles off
No needle through a glove
Famine is a tall tower
A building left in the night
Jesse are you listening?
It casts its ruins in shadows
Under Memphis moonlight
Jesse are you listening?
Six feet of foetus
Flung at sparrows in the sky
Put yourself in my shoes
A kiss, wet, muzzle
A clouded eye
No stars to flush it out
Famine is a tall tower
A building left in the night
Jesse are you listening?
It casts its ruins in shadows
Under Memphis moonlight
Jesse are you listening?
Pow! Pow!
In the dream
I am crawling around in my hands and knees
smoothing out the prairie
All the dents and the gouges
And the winds dying down
I lower my head
Press my ear to the prairie
Alive, I'm the only one
Left alive
I'm the only one
Left alive
I'm the only one
Left alive
Alive
I'm the only one
Left alive
I'm the only one
Left alive
I'm the only one
Left alive

Yeah, that reminds me of "Seasons in the Sun" alright.

I do see the very fleeting similarity in the guitar,

((Jesus Christ you're stupid. First you say there's no comparison,
then you say there's a superficial fleeting similarity. Make up your
****ing mind. Shhhh!))

LoL!