I HOPE UP IN HEAVEN ONE DAY THEY HAVE KENNY'S RECORDINGS AND AN 'AMAZING SLOW-DOWNER' ...AND A FIDDLE I CAN USE.....i HAVE A GOOD PHOTO OF KENNY FROM '75 IF ANYONE WANTS ME TO SEND IT TO THEM...LMK...DAVID M. IN AUSTIN
This album MIX is not good. The playing is good, but if you listen to the fiddle it will become hard to hear at times, fading out then returning. This is due to an effect called Masking. It is where your ear hears two or more frequencies that are close enough that your brain has to make a choice which to let you hear. Here you would work with the mix to not allow these kinds of conflicts. You would do this through EQing or volume of the back up instrument which would allow the lead instrument to come through without being masked. You could also use panning. In the end you should have clear performances coming out of the speaker. Not so on this album. Kenny was my mentor. I would go stay at his farm for 2 weeks each winter from 1975 to 1989 where he would show me how to play the fiddle his way. Just him and I. He and I visited the studio where this was being mixed. It was being done by a couple of musicians, not capable studio engineers. These guys just had no clue about Masking and this can be heard on the LP. I couldn't see or hear much of what was going on at the time Kenny and I were there. The tracking or recording of the tracks was great though. Very Solid. The reference tape shows that. PS: I am looking at the Highlights album cover on my right here. My first solo album Tanyards and his Highlights album were recorded back to back in Sonny Dietens studio in TN. We went 24/7 in there. We worked on my album from noon to midnight and his from midnight to noon the next day. That was a real learning experience for me and Dave Thompson, my guitar player. Just to see how these masters interacted with each other in the studio. Kenny came up with the arrangements for the sessions in that studio. Oh, there are a million stories I could tell you. Good times. candlewater.com/interviews/story008.html PS: Sometime look up the album art for Jim Moss Tanyards LP which came out first. Then look at the album art for Kenny Baker Highlights. That was funny too. Jim Moss
Yeah, that's right. The mix sucks due to the inexperience of the person who mixed it. This is a story of cheapness and people who got the opportunity for the job way before they were able to do a decent job. Kenny Baker hated this album due to the mix. I had never seen him so mad. So, listen here Buckwheat, if you don't like what I write then don't read it. There was no R&D time here. This was the time when massive Rock mixes were coming out that were way more complex than this. I am a studio engineer/EE/Fiddler who was there at Kenny's farm when this came out. This is what happened, pure and simple. It was the hiring of an unskilled person to do a skilled person's job. CHEAP! CHEAP IS CHEAP. You can stay blind if you like. I am telling you the facts. Again, Buckwheat, if you don't like what I write then don't read it. Jim Moss
His friend... I see. So now it is about you. Well, I used to spent 2 weeks every winter at his farm, learning fiddle. This has nothing to do with the topic of the recording at all. It is about you. Without me and my posts here about the LP vs the Rough Mix, you wouldn't understand the issues. No one would. I brought the issue of MASKING up and gave a comparison of the LP and Rough Mix. I am telling you now, that Kenny himself told me that I was free to show these issues if I wanted. I just didn't get around to it. He wanted the person who did this to his LP to be exposed. I know the person who did it, but I am not going to mention HIS name, but I am sure you can find it on the LP cover. There are some things that happened during this mixing effort that sent him through the roof. I am not talking about that now. Maybe your hearing is not what it used to be or ever was. I understand that. I had a mutual friend of Baker and myself take one of my LP albums and put it on his record player on 45RPM, then tell me about how he thought I played everything too fast. I get it. However, this LP could have been as good as Frost on the Pumpkin if it was mixed right. What you need to try to understand is that an LP represents you to the world who don't see you out at the festivals. You can see what this album should have sounded like by listening to the Rough Mix UA-cam posting. If you are someone who was not there when Baker got pissed off over the how the record was made like I was, then you will never understand. He gave me a copy of the rough mix as what I should listen too and not the LP. You have the Rough Mix. It is linked below. I listened to this recording for decades before I lost it in my tape archive. Apparently he gave it to someone else too. Here is something to try, in mixing an album in a studio, you check the levels of all the instruments by turning the faders (audio) down to where you can barely hear it. Then you listen to the levels of each instrument across the song. Your ears compress the audio which can hide things like this. Try it. I can hear this in this album without doing this, but if the mixing engineer had done this, the album would have been a big success. You have both recordings, The Rough Mix which in most cases would never be as good as the finished mix, and the LP. Jim Moss
@@jmoss99 No, not about me at all, Alfalfa. I'm well aware of the importance of a good final mix and understand the recording process quite well having logged many hours in recording studios myself. Your condescending, know-it-all tone wears thin that's all.
![Kenny Baker Country [1972] - Kenny Baker](http://i.ytimg.com/vi/r9x_7EqNBV0/mqdefault.jpg)
![Kenny Baker Country [1972] - Kenny Baker](/img/tr.png)
![Bluegrass Instrumentals [1962] - The Osborne Brothers](http://i.ytimg.com/vi/f1pac8f1xFo/mqdefault.jpg)
I'm an English guy, born and bred here in the UK.
I love your classic bluegrass sound over in the good Ol U S of A
Farm yard swing is one of my favorites. Thanks. Take-san!
It's on the repeat of that melody
MY ALL TIME FAVE OF HIS WOULD BE...DUCKS ON THE MILLPOND ! FORGET WHAT RECORDING IT'S ON ...WORTH A GRAMMY JUST ON ITS OWN...
Thank you so much for your comments. You can find "Ducks On The Millpond" in this album:ua-cam.com/video/gTXoyP-R-i8/v-deo.html
Hey Take . I just reacquainted with this album! It's wonderful. ! Should be in every fiddle tune and mandolin pickers stockpile. Thanks
Jim
Thanks Take! Of course I love the fiddle and the banjo Butch and mandolin Bobby were excellent!!
James, Glad you liked the album! Thank you so much for your comments here and there. :-) Take
The hiccough occurs just a few bars into the fiddle entry at 22 : 45 /27 : 57
good old fiddle player!
Terrific.
King Kenny.
I HOPE UP IN HEAVEN ONE DAY THEY HAVE KENNY'S RECORDINGS AND AN 'AMAZING SLOW-DOWNER' ...AND A FIDDLE I CAN USE.....i HAVE A GOOD PHOTO OF KENNY FROM '75 IF ANYONE WANTS ME TO SEND IT TO THEM...LMK...DAVID M. IN AUSTIN
I think this song is actually called "Lost Indian"
Yep, that's cut #1.
This album MIX is not good. The playing is good, but if you listen to the fiddle it will become hard to hear at times, fading out then returning. This is due to an effect called Masking. It is where your ear hears two or more frequencies that are close enough that your brain has to make a choice which to let you hear. Here you would work with the mix to not allow these kinds of conflicts. You would do this through EQing or volume of the back up instrument which would allow the lead instrument to come through without being masked. You could also use panning. In the end you should have clear performances coming out of the speaker. Not so on this album.
Kenny was my mentor. I would go stay at his farm for 2 weeks each winter from 1975 to 1989 where he would show me how to play the fiddle his way. Just him and I. He and I visited the studio where this was being mixed. It was being done by a couple of musicians, not capable studio engineers. These guys just had no clue about Masking and this can be heard on the LP. I couldn't see or hear much of what was going on at the time Kenny and I were there.
The tracking or recording of the tracks was great though. Very Solid. The reference tape shows that.
PS: I am looking at the Highlights album cover on my right here. My first solo album Tanyards and his Highlights album were recorded back to back in Sonny Dietens studio in TN. We went 24/7 in there. We worked on my album from noon to midnight and his from midnight to noon the next day. That was a real learning experience for me and Dave Thompson, my guitar player. Just to see how these masters interacted with each other in the studio. Kenny came up with the arrangements for the sessions in that studio. Oh, there are a million stories I could tell you. Good times.
candlewater.com/interviews/story008.html
PS: Sometime look up the album art for Jim Moss Tanyards LP which came out first. Then look at the album art for Kenny Baker Highlights. That was funny too.
Jim Moss
Oh, good lord. I agree the mix isn't great but these were R&D times for bluegrass. Please don't explain to me what I'm hearing.
Yeah, that's right. The mix sucks due to the inexperience of the person who mixed it. This is a story of cheapness and people who got the opportunity for the job way before they were able to do a decent job. Kenny Baker hated this album due to the mix. I had never seen him so mad. So, listen here Buckwheat, if you don't like what I write then don't read it. There was no R&D time here. This was the time when massive Rock mixes were coming out that were way more complex than this. I am a studio engineer/EE/Fiddler who was there at Kenny's farm when this came out. This is what happened, pure and simple. It was the hiring of an unskilled person to do a skilled person's job. CHEAP! CHEAP IS CHEAP. You can stay blind if you like. I am telling you the facts.
Again, Buckwheat, if you don't like what I write then don't read it.
Jim Moss
@@jmoss99 , may not be Baker's finest, but I think he might not look kindly of you calling one of his friends Buckwheat.
His friend... I see. So now it is about you. Well, I used to spent 2 weeks every winter at his farm, learning fiddle. This has nothing to do with the topic of the recording at all. It is about you. Without me and my posts here about the LP vs the Rough Mix, you wouldn't understand the issues. No one would. I brought the issue of MASKING up and gave a comparison of the LP and Rough Mix. I am telling you now, that Kenny himself told me that I was free to show these issues if I wanted. I just didn't get around to it. He wanted the person who did this to his LP to be exposed. I know the person who did it, but I am not going to mention HIS name, but I am sure you can find it on the LP cover. There are some things that happened during this mixing effort that sent him through the roof. I am not talking about that now. Maybe your hearing is not what it used to be or ever was. I understand that. I had a mutual friend of Baker and myself take one of my LP albums and put it on his record player on 45RPM, then tell me about how he thought I played everything too fast. I get it. However, this LP could have been as good as Frost on the Pumpkin if it was mixed right. What you need to try to understand is that an LP represents you to the world who don't see you out at the festivals. You can see what this album should have sounded like by listening to the Rough Mix UA-cam posting.
If you are someone who was not there when Baker got pissed off over the how the record was made like I was, then you will never understand. He gave me a copy of the rough mix as what I should listen too and not the LP. You have the Rough Mix. It is linked below. I listened to this recording for decades before I lost it in my tape archive. Apparently he gave it to someone else too.
Here is something to try, in mixing an album in a studio, you check the levels of all the instruments by turning the faders (audio) down to where you can barely hear it. Then you listen to the levels of each instrument across the song. Your ears compress the audio which can hide things like this. Try it. I can hear this in this album without doing this, but if the mixing engineer had done this, the album would have been a big success. You have both recordings, The Rough Mix which in most cases would never be as good as the finished mix, and the LP.
Jim Moss
@@jmoss99 No, not about me at all, Alfalfa. I'm well aware of the importance of a good final mix and understand the recording process quite well having logged many hours in recording studios myself. Your condescending, know-it-all tone wears thin that's all.
At 22:19/22;51 is there an extra a hiccough in the melody lead ?