Edit: There is 3 versions I can find on UA-cam.. The Demo which has different lyrics (instead of "The workmanship was plain to see" its "The travel's worth the site you see", the what I think is the original which has the same lyrics as your upload, and then this upload which sounds like a digital remaster. Do the other tracks have this increase in reverb? Interesting that there are 3 versions. The vocals on the original are also a lot less aggressive compared to this version, a lot more laid back, I don't know if it's a re-recording or just a different digital mix. Definetely has more dynamic range but I don't know how I feel about the reverb on the vocals, kinda sounds like he's singing in a kitchen sink which I suppose is fitting from reading the promo sheet. Version I have has a similar label but the text is in orange. I also don't have the "Pretzel Release" sheet with a clear record sleeve. I instead have a standard paper record sleeve which has the lyrics of each song listed. Also interesting that the tracks are in different order compared to the version I have over here (I'm in the UK) SIDE A - Made in Japan - If I had My Way - Mr Politician - Girl Come From - Unconditional Love SIDE B - Cheater - But I Really Loved Her So - Cosmopolitan Girl - Cling On - Doing Things That We Used To Do. From what I can tell all identifying codes are the same on both records, no differences in dates either.
pretty interesting how your copy sounded less immersive and polished than this one, my copy is somewhat similar, so similar that i mistaken it for a cover, too bad that the source i got it from is not complete
It looks like there's two pressings; one from the US and one from Canada. This copy shown here in the video (with the order that has Cosmopolitan Girl on track A3) is the US one. The one from Canada has the order track order with Mr. Politician on A3. So I assume that the US got a different, more reverb-drenched mix?! I do prefer the more laid-back mix without the kitchen sink reverb 😄
You wrote on a friend's blog post that you managed to find two more volumes of Jim Noste albums - These have never surfaced before, do you plan on digitising and sharing them at some point?
I'm sorry you lost me in the first 20 seconds. Why? The instrumental section started. It sounded rather, overly, Ricky Tiki, synthetic. Okay I figure. It's the times that it sounds okay. But then the vocal started. And oy vey. What? What is this? It's way overly, digitally, ambient-cd. The dynamics of the voice is, brutal. I guess you don't believe in, limiting door compression. Why not? You don't know how to use it that's why. And I just hit stop. It was no longer worthy of my listening time. I don't know what you did for your production here. I am making assumptions. I should not be making. I understand, Home Brood, productions. And it doesn't have to be like this. So… Here's a couple of recommendations. First. Let me clarify here. I ain't be no amateur. I'm a history making multi-major music award nominee. And studio designer. And I've worked with some major legendary US audio manufacturing firms. So. Now that that's out of the way. The musical track. Is musically good.. It's usable, salvageable. It needs a little more pizzazz to it. This can be had in any number of ways. As you know. Through, the EQ tone controls. The digital effects of, echoes, reverbs, phasing, Flanging, Haas affect.. And that creates stereo from mono. You get stereo from a single microphone track. That offers a feeling of space and perspective. When not overdone. When used, subtly. Otherwise it just gets, begin her electronics sounding. And nobody wants to hear the electronics. One of the most important ways to mix your music. Is, not necessarily. Listening and enhancing each and every microphone, individually. No. You want to run your tone controls/EQ, to, 0 usually straight up.. And just combining all the tracks. Adjust the mix balance. And then. You can start tweaking, the individual tracks a little bit. Keep it simple. No wacky positions of the controls. Moderation is the key here.. And then. You can start adding some special-effects such as echoes, reverbs, phaasing and Flanging. In small quantities. To certain instruments that might sound good on. And you sort of massage it. Pat it. And mark it with a, B. For baby and me. So that a baby would like to listen to it, also. And not find it Ricky Tiki grating. Then, onto the vocal track. With the vocal track. Strangely enough. It's contrary to what you think you want. We really want, virtually no, Dynamics. On the vocal track. No. The reason for this? The human voice. Has a wider dynamic range. Than, any musical instrument. It is ungodly broad. It doesn't translate well. On electronically reproduced, systems and speakers. As it would a person in person. It just doesn't work that way. So? We first. Have to tweak the EQ. Rather severely. Heavy handedly. Where, you are going to turn down, all of the, Bass. On the vocal. Yes. It will sound like a tin can. Stick with me on this. Then. If able. If you were so equipped? We want to put a boost. Anywhere between, 3000 and 5000 Hz a.k.a. 3-5 kHz. And a substantial boost means, on the order of, 6, perhaps 8. And then we grabbed the, Hi-Frequency Pot. Which is not a weed but short for Potentiometer. Which is also known as a Volume Control.. It controls the high frequencies. And you will put a substantial boost on that. Six, to, 10-12-15 DB boost. And oh my Lord is this going to sound awful now! Stick with me. Yes this is going to be just some of the worst sound you have ever heard. And sounds completely inappropriate for anything. That's why at this point. We add this other magical device. It is called a Dynamic Range Limiter also Compressor. They are the same. But they work at different volume levels. And at different strengths. Through the same device. And I will explain thusly. There are a couple of different types of these things. They all work. They all work differently from each other. They all sound differently from each other. But they essentially all do the same thing. And really just about any will work. Though for vocals. I like certain types. One of the most popular for vocals. Was created in the late 1960s. In Los Angeles. It uses transistors. There are others that use tubes. A.k.a. vacuum tubes a.k.a. Valves. And while those were wonderful devices in their day. All the tubes made today. Are really only good enough. To stick in guitar amplifiers. Where you want a lot of distortion. But I don't recommend them anymore. For quality audio products for recording applications. They are awful. They are made in China and Russia. And the sound of them just is not all that up to snuff. Not like the former vacuum tubes available from companies like, TELEFUNKEN, TELEFUNKEN and TELEFUNKEN. Then there was also RCA, GE, Sylvania, Raytheon, others. That were also reasonably good. But nothing could beat a TELEFUNKEN. From Germany. Nothing. And that's why I stay away from vacuum tubes today. Those are no longer available. That company doesn't exist anymore. And this is from a bygone era. No longer really valid. In our current technological times. Though they had their charm. So did model T Fords. And they don't make those anymore either. They sure were practical. Nobody likes practical. But I digress. Four vocal Limiting. I prefer this device. That uses Field Effect Transistors a.k.a. FET's. They have what is called a Peak Detector. And one of the fastest on the market. They have selectable, Ratios. Which are expressed as, 4:1, 8:1, 12:1 and 20:1. Then there is also a 50:1. When you press and all the buttons at once. It's bizarre. I know. It's fun to do. Everybody's been doing it for decades. However. It also has adjustable Attack and Release, times. And with these controls. For vocals. Even though we may want to control and get rid of peaks.. One would think you would want a fast attack. And you do. But these units such a fast attack time. They can be overly fast. Yes that is a thing. And so? We usually roll the attack time back. Almost all the way counterclockwise. As slow as we can make it, go. Because even the slow. It is considerably faster than anybody else's. On these units. Then. We select a Ratio. This will determine. Whether we are Compressing the dynamic range. Or Limiting, the dynamic range. As the two functions are similar. The compression, turns up the really soft passages. To, full on, loud. And it takes the loud passages, down a bit. And that is compression. I generally prefer Limiting. Which simply is the same thing but. We turn the threshold of hire. Where it will begin to work. So it's not turning up, quiet things. As much as it is, tamping down on, uncomfortably loud peaks. Which the human voice does a lot of... And so with this device. We have to set an input, gain, control. So that the Gain Reduction, meter. Which sits at, 0-VU or at 100% indicated modulation. And as you turn up your threshold control. For the input. The meter will start to deflect to the left. And while you are speaking. That leader should be deflecting substantially to the left. But not pitting all the way to the left. I generally will choose a Limiting Ratio of 20:1. But, depending on how the artist uses their voice. I might even choose 50:1. Now what this means is? There can be 20 DB swing. At the input. It will result in a 1 single DB variation at the output. Making something sound very consistent. And nicely glued together. But getting that meter deflecting to the left. Will lower the output volume. Which we compensate for. With an output volume control. And you turn that up. What you will then hear of yourself. May absolutely, astound you. Because this is how I have been doing it, professionally. For the past 50 years. At the top of the heap of,, National Advertising Agencies. The 1st, the original, the best, radio & TV Network in the world. NBC. And this is how I do it for them. And have since 1973. Oh my God where has the time gone? I've just been having too much fun doing this all my life and career long. Doing this. Will separate the men from the noise. The boys from the Tories. While leaving your wallet largely intact. With a Signal Chain. That will blow all of your friends, minds. I personally like to own a couple of pieces of this hardware. We call it a channel strip. It's like one channel. Out of a 24-32-48 input, $85,000 audio console. As we may only need one channel. For a narrative voiceover announcer. There can be one artifact from doing this. And that is an increase. A noticeable rise. In background noise of all sorts. Traffic, dogs barking, kids playing, air conditioning hissing and rumbling. Background noise you certainly don't want on your recording. And so. Many of these audio processor thingies. Have a noise reducer knob. Put a pair of headphones on. Start turning that knob up. Suddenly everything in the background will become velvety silent. And so you don't want to turn that up all the way. Only enough. To make things sound really nicely quiet. Et Voilà! You are now cooking with gas. You are cutting the rug. You will be dancing an Irish jig. You won't believe your ears. Now the hardware gizmos I use are the, Neve 3115/1073 microphone preamp, EQ, module. Or the API, 312 microphone preamp and 560 Equalizer. Followed by the, UREI, 1176 dynamic range limiter. And that will raise my background noise and other stuff. And so I follow that 1176 device. With what we call a cab downward Expander mostly known as a Gate. And that will eliminate all the background garbage noise. You won't believe your ears. Get to and contact me in the morning. No don't call me in the morning. I am not a morning person. Thank you very much. RemyRAD
You're worried about listening time, yet took how long writing this lol. Why would he go through editing it when he stated in the description that the other ones uploaded are low quality.. Safe bet to assume he wouldn't want to tamper with it. How about you do it, instead of thinking someone wants to spend hours reading your comment and editing it to satisfy one audiophile xD
Nothing like an authentic digital vinyl 😁
All the good stuff is made in Japan Doc.
Thanks, Kevin. Love how you guessed some of us would like to listen to this in full with good quality.
This plays in my head when I think about Atlas and the Stars hentai
Edit: Wait PRETZEL WAS A FUCKING RECORD LABEL?
Time when everything digital was hype
True, I remember those days fondly.
ua-cam.com/video/4l_bQf3_o3I/v-deo.html
Sounds really good..
VWestlife brought me here to listen.
Which video?
Are you seriously telling us you don't know this channel is Kevin's as well?
Edit: There is 3 versions I can find on UA-cam.. The Demo which has different lyrics (instead of "The workmanship was plain to see" its "The travel's worth the site you see", the what I think is the original which has the same lyrics as your upload, and then this upload which sounds like a digital remaster.
Do the other tracks have this increase in reverb?
Interesting that there are 3 versions. The vocals on the original are also a lot less aggressive compared to this version, a lot more laid back, I don't know if it's a re-recording or just a different digital mix. Definetely has more dynamic range but I don't know how I feel about the reverb on the vocals, kinda sounds like he's singing in a kitchen sink which I suppose is fitting from reading the promo sheet.
Version I have has a similar label but the text is in orange. I also don't have the "Pretzel Release" sheet with a clear record sleeve. I instead have a standard paper record sleeve which has the lyrics of each song listed.
Also interesting that the tracks are in different order compared to the version I have over here (I'm in the UK)
SIDE A
- Made in Japan
- If I had My Way
- Mr Politician
- Girl Come From
- Unconditional Love
SIDE B
- Cheater
- But I Really Loved Her So
- Cosmopolitan Girl
- Cling On
- Doing Things That We Used To Do.
From what I can tell all identifying codes are the same on both records, no differences in dates either.
pretty interesting how your copy sounded less immersive and polished than this one, my copy is somewhat similar, so similar that i mistaken it for a cover, too bad that the source i got it from is not complete
It looks like there's two pressings; one from the US and one from Canada. This copy shown here in the video (with the order that has Cosmopolitan Girl on track A3) is the US one. The one from Canada has the order track order with Mr. Politician on A3. So I assume that the US got a different, more reverb-drenched mix?! I do prefer the more laid-back mix without the kitchen sink reverb 😄
@@kingperaltatbh, I think both versions were either released in the US or Canada, but there’s no exact indicators on either version to really say…
Yeah!!
You wrote on a friend's blog post that you managed to find two more volumes of Jim Noste albums - These have never surfaced before, do you plan on digitising and sharing them at some point?
*Made In Japan* By Buck Owens
Vw any chance you could upload your agent biscuit cd or a track or two of it? Thank you!
What is the lyrics of this song?
Honestly I think the amount of reverb on this version is really annoying
I'm sorry you lost me in the first 20 seconds. Why?
The instrumental section started. It sounded rather, overly, Ricky Tiki, synthetic. Okay I figure. It's the times that it sounds okay.
But then the vocal started. And oy vey. What? What is this? It's way overly, digitally, ambient-cd. The dynamics of the voice is, brutal. I guess you don't believe in, limiting door compression. Why not? You don't know how to use it that's why. And I just hit stop. It was no longer worthy of my listening time.
I don't know what you did for your production here. I am making assumptions. I should not be making. I understand, Home Brood, productions. And it doesn't have to be like this. So… Here's a couple of recommendations.
First. Let me clarify here. I ain't be no amateur. I'm a history making multi-major music award nominee. And studio designer. And I've worked with some major legendary US audio manufacturing firms. So. Now that that's out of the way.
The musical track. Is musically good.. It's usable, salvageable. It needs a little more pizzazz to it. This can be had in any number of ways. As you know. Through, the EQ tone controls. The digital effects of, echoes, reverbs, phasing, Flanging, Haas affect.. And that creates stereo from mono. You get stereo from a single microphone track. That offers a feeling of space and perspective. When not overdone. When used, subtly. Otherwise it just gets, begin her electronics sounding. And nobody wants to hear the electronics.
One of the most important ways to mix your music. Is, not necessarily. Listening and enhancing each and every microphone, individually. No. You want to run your tone controls/EQ, to, 0 usually straight up.. And just combining all the tracks. Adjust the mix balance. And then. You can start tweaking, the individual tracks a little bit. Keep it simple. No wacky positions of the controls. Moderation is the key here.. And then. You can start adding some special-effects such as echoes, reverbs, phaasing and Flanging. In small quantities. To certain instruments that might sound good on. And you sort of massage it. Pat it. And mark it with a, B. For baby and me. So that a baby would like to listen to it, also. And not find it Ricky Tiki grating. Then, onto the vocal track.
With the vocal track. Strangely enough. It's contrary to what you think you want. We really want, virtually no, Dynamics. On the vocal track. No. The reason for this? The human voice. Has a wider dynamic range. Than, any musical instrument. It is ungodly broad. It doesn't translate well. On electronically reproduced, systems and speakers. As it would a person in person. It just doesn't work that way. So?
We first. Have to tweak the EQ. Rather severely. Heavy handedly. Where, you are going to turn down, all of the, Bass. On the vocal. Yes. It will sound like a tin can. Stick with me on this.
Then. If able. If you were so equipped? We want to put a boost. Anywhere between, 3000 and 5000 Hz a.k.a. 3-5 kHz. And a substantial boost means, on the order of, 6, perhaps 8. And then we grabbed the, Hi-Frequency Pot. Which is not a weed but short for Potentiometer. Which is also known as a Volume Control.. It controls the high frequencies. And you will put a substantial boost on that. Six, to, 10-12-15 DB boost. And oh my Lord is this going to sound awful now! Stick with me.
Yes this is going to be just some of the worst sound you have ever heard. And sounds completely inappropriate for anything. That's why at this point. We add this other magical device. It is called a Dynamic Range Limiter also Compressor. They are the same. But they work at different volume levels. And at different strengths. Through the same device. And I will explain thusly.
There are a couple of different types of these things. They all work. They all work differently from each other. They all sound differently from each other. But they essentially all do the same thing. And really just about any will work. Though for vocals. I like certain types.
One of the most popular for vocals. Was created in the late 1960s. In Los Angeles. It uses transistors. There are others that use tubes. A.k.a. vacuum tubes a.k.a. Valves. And while those were wonderful devices in their day. All the tubes made today. Are really only good enough. To stick in guitar amplifiers. Where you want a lot of distortion. But I don't recommend them anymore. For quality audio products for recording applications. They are awful. They are made in China and Russia. And the sound of them just is not all that up to snuff. Not like the former vacuum tubes available from companies like, TELEFUNKEN, TELEFUNKEN and TELEFUNKEN. Then there was also RCA, GE, Sylvania, Raytheon, others. That were also reasonably good. But nothing could beat a TELEFUNKEN. From Germany. Nothing. And that's why I stay away from vacuum tubes today. Those are no longer available. That company doesn't exist anymore. And this is from a bygone era. No longer really valid. In our current technological times. Though they had their charm. So did model T Fords. And they don't make those anymore either. They sure were practical. Nobody likes practical. But I digress.
Four vocal Limiting. I prefer this device. That uses Field Effect Transistors a.k.a. FET's. They have what is called a Peak Detector. And one of the fastest on the market. They have selectable, Ratios. Which are expressed as, 4:1, 8:1, 12:1 and 20:1. Then there is also a 50:1. When you press and all the buttons at once. It's bizarre. I know. It's fun to do. Everybody's been doing it for decades. However. It also has adjustable Attack and Release, times. And with these controls. For vocals. Even though we may want to control and get rid of peaks.. One would think you would want a fast attack. And you do. But these units such a fast attack time. They can be overly fast. Yes that is a thing. And so? We usually roll the attack time back. Almost all the way counterclockwise. As slow as we can make it, go. Because even the slow. It is considerably faster than anybody else's. On these units.
Then. We select a Ratio. This will determine. Whether we are Compressing the dynamic range. Or Limiting, the dynamic range. As the two functions are similar. The compression, turns up the really soft passages. To, full on, loud. And it takes the loud passages, down a bit. And that is compression. I generally prefer Limiting. Which simply is the same thing but. We turn the threshold of hire. Where it will begin to work. So it's not turning up, quiet things. As much as it is, tamping down on, uncomfortably loud peaks. Which the human voice does a lot of...
And so with this device. We have to set an input, gain, control. So that the Gain Reduction, meter. Which sits at, 0-VU or at 100% indicated modulation. And as you turn up your threshold control. For the input. The meter will start to deflect to the left. And while you are speaking. That leader should be deflecting substantially to the left. But not pitting all the way to the left.
I generally will choose a Limiting Ratio of 20:1. But, depending on how the artist uses their voice. I might even choose 50:1. Now what this means is? There can be 20 DB swing. At the input. It will result in a 1 single DB variation at the output. Making something sound very consistent. And nicely glued together. But getting that meter deflecting to the left. Will lower the output volume. Which we compensate for. With an output volume control. And you turn that up.
What you will then hear of yourself. May absolutely, astound you. Because this is how I have been doing it, professionally. For the past 50 years. At the top of the heap of,, National Advertising Agencies. The 1st, the original, the best, radio & TV Network in the world. NBC. And this is how I do it for them. And have since 1973. Oh my God where has the time gone? I've just been having too much fun doing this all my life and career long.
Doing this. Will separate the men from the noise. The boys from the Tories. While leaving your wallet largely intact. With a Signal Chain. That will blow all of your friends, minds.
I personally like to own a couple of pieces of this hardware. We call it a channel strip. It's like one channel. Out of a 24-32-48 input, $85,000 audio console. As we may only need one channel. For a narrative voiceover announcer.
There can be one artifact from doing this. And that is an increase. A noticeable rise. In background noise of all sorts. Traffic, dogs barking, kids playing, air conditioning hissing and rumbling. Background noise you certainly don't want on your recording. And so.
Many of these audio processor thingies. Have a noise reducer knob. Put a pair of headphones on. Start turning that knob up. Suddenly everything in the background will become velvety silent. And so you don't want to turn that up all the way. Only enough. To make things sound really nicely quiet. Et Voilà! You are now cooking with gas. You are cutting the rug. You will be dancing an Irish jig. You won't believe your ears.
Now the hardware gizmos I use are the, Neve 3115/1073 microphone preamp, EQ, module.
Or the API, 312 microphone preamp and 560 Equalizer. Followed by the, UREI, 1176 dynamic range limiter.
And that will raise my background noise and other stuff. And so I follow that 1176 device. With what we call a cab downward Expander mostly known as a Gate. And that will eliminate all the background garbage noise. You won't believe your ears. Get to and contact me in the morning.
No don't call me in the morning. I am not a morning person. Thank you very much.
RemyRAD
Maybe it's UA-cam limiting the quality
no clue what you wrote but i respect the whole ass essay
Do you have any shorter opinions?
What was that text about, who is that person, and did (s)he actually write it or just copied it from who knows where?
You're worried about listening time, yet took how long writing this lol. Why would he go through editing it when he stated in the description that the other ones uploaded are low quality.. Safe bet to assume he wouldn't want to tamper with it. How about you do it, instead of thinking someone wants to spend hours reading your comment and editing it to satisfy one audiophile xD