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Post by MikeMusic on Nov 15, 2018 12:47:25 GMT
We have been very impressed with films from WW1 doctored by clever people, computers and software.
What can be expected from very old recordings once they put their mind to it.
The dog barking in the background of an original Robert Johnson track ?
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Post by Slinger on Nov 15, 2018 13:28:11 GMT
We have been very impressed with films from WW1 doctored by clever people, computers and software. What can be expected from very old recordings once they put their mind to it. The dog barking in the background of an original Robert Johnson track ? That's Peter Jackson, if memory serves. He's got the talent, the team, and the resources. He'll probably end up making some money out of it, but he could afford to take the project on without really worrying about turning a profit. I think, complicated though it is, it's easier to replace missing items on film than the precise notes in music. By 'notes' I obviously mean the precise sound that (for instance) Robert Johnson's guitar made on the second fret of the G string, on September 8th 1936 in Jackson so that it slides in seamlessly. Plus, if you have to replace a note, because it's beyond cleaning up, can still call what you then have THE 'original' recording? |
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Post by petea on Nov 15, 2018 13:35:37 GMT
Interesting ideas and the augmented film idea certainly seems to work. I think Slinger is right though about moving images vs audio as we cannot see most errors etc in video unless we are specifically looking for them (after all, we've been watching cinema films with flickering frames for a fair while without noticing!).
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Post by MikeMusic on Nov 15, 2018 14:22:38 GMT
We have been very impressed with films from WW1 doctored by clever people, computers and software. What can be expected from very old recordings once they put their mind to it. The dog barking in the background of an original Robert Johnson track ? That's Peter Jackson, if memory serves. He's got the talent, the team, and the resources. He'll probably end up making some money out of it, but he could afford to take the project on without really worrying about turning a profit. I think, complicated though it is, it's easier to replace missing items on film than the precise notes in music. By 'notes' I obviously mean the precise sound that (for instance) Robert Johnson's guitar made on the second fret of the G string, on September 8th 1936 in Jackson so that it slides in seamlessly. Plus, if you have to replace a note, because it's beyond cleaning up, can still call what you then have THE 'original' recording? Peter Jackson and others we have seen recently. We are setting the scene for the next argument. Real recording v's augmented. Will almost certainly be crap to start with then...... Good or bad there is money to be made Cue slavering Music Industry moguls, job done |
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Post by Slinger on Nov 15, 2018 15:10:44 GMT
Suppose, just for a moment, that I was a clever bugger. A bit of a stretch, but go with me here...
After years of study, hard work, late nights, and copious amounts of alcohol, I develop an algorithm that perfectly replicates Robert Johnson's playing style. It could be done.
Meanwhile, my non-existent identical twin comes up with a software instrument that mimics Johnson's guitar. Again, it's possible.
We already have all of the notes and the phrasing so it just takes my brother and me to marry the three elements. Once we've done that, is Robert Johnson playing the guitar?
If we separated Johnson's voice from the original recording and laid it over our newly recorded backing, would it be a Robert Johnson album? How much of Trigger's broom can we replace before it becomes a new broom?
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Post by petea on Nov 15, 2018 15:39:01 GMT
I sometimes work in the heritage field and there is a similar discussion there all the time; conservation vs restoration. These days the main focus is on conservation and with all interventions being reversible. Now of course that conflicts with what the general public might want / expect to see in many cases and when one's taxes end up funding the 'restoration' of some building / object and what you get is something with holes still in it and areas that are clearly different it causes some difficulties.
With music (and film), as long as we still have the source material and it is archived to remain stable and we are honest about what interventions were made to allow a new version to be appreciated then maybe that can be acceptable. How far to go though? When does remastering become re-interpretation? When is something simulated? There is a new album by 17 Hippies where the main writer and some of the musicians have remastered some of their recordings and added / changed parts in the studio. It was certainly more than just remastered and the new interpretations add quite a bit, but don't detract from the originals.
Interesting subject though.
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Post by MikeMusic on Nov 15, 2018 15:47:37 GMT
Extrapolation and Algorhythm  Simple metaphor : Once upon a time I had a problem at work. Put my brainy stepson on the case. I was prepared for him to spend days solving the problem maybe not solve it at all. Within half a day he had the answer and was it clever. This is coming. Money talks |
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Post by daytona600 on Nov 16, 2018 14:37:12 GMT
Modern digital mastering why bother just use the old gear
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Post by MikeMusic on Nov 16, 2018 15:30:13 GMT
If it moves product anything will do !
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