SwingDJs

Campus Five wrote:NO MASTERING

After listening to a couple more tracks that popped to mind.

Jonathan

Well done. That sounds like it's going to come up really good.

How would you compare this last recording session to your previous ones?


Brian

I also noticed the echo, which I figured would be corrected in the final cut. What I do like is the guitar sound... in Gone with What Wind it has a very distinct CC recreation style... i like it.

This is the first time we've gone as far with the vintage equipment. Josh's old kit (which I've owned for two years now) was a mid 50's kit, and after it was stolen, I got a 1941 kit. Wally Hersom (ex.Big Sandy, also w/Bonebreak Syncopators and the Lucky Stars), our new bass players, uses a 1940 Epiphone Bass. And I used a 1940 Gibson amp like Charlie Christian. It's amazing what hearing those sounds can do to inspire you.

GuruReuben wrote:

Campus Five wrote:NO MASTERING

After listening to a couple more tracks that popped to mind.

It's amazing what a little compression and normalization can do.

(for anyone who doesn't know what that means - compression is lowering the level of louder parts of a sound to make it more consistent, and normalization is making sure the loudest parts of a song all hit 0db and no more)

Was it an anolog or digital recording?

It would be great if you can leave those unmastered samples up. I is always interesting to compair the pre-mastered version with the mastered version.
It's amazing everything that can be done in the mastering stage.
It can really make a good sounding track into a great sounding track.

Brian

A or D? The recording was done on all of those awesome vintage mics I described earlier, and fed into a mid 50's analog mixing board, and through some more 50's analog compressors, and into a first generation ADAT (which is a digital 8-track machine that records onto super VHS tapes).

I'll leave up the samples for sure.

julius wrote:

Campus Five wrote: Bei Bist Du Schoen - although we generally wouldn't such a played song
One O'Clock Jump - another obvious chesnut that we'd otherwise avoid. I
It Don't Mean a Thing - again, another chesnut we would generally avoid,

Sellouts!

I'm a little late to the party on this discussion. I hope Julius is just messin' with you.

One of my pet peeves is exactly this. These are all excellent songs and so what if they are overplayed, over-requested or whatever. They are just that because people like them. Putting songs on CDs that people like tend to sell more CDs. Just because you want to sell CDs does not equate to being a sellout.

If it weren't for people "selling out" in swing, it would make it harder to entice new people to be interested, whether is just listening or new dancers. I say AMEN to putting these songs on your list!

I've purchased many a CD where it had one of these songs because I figured if they covered that song, some of these lesser known songs (at least to me) might swing, too! I've discovered a lot of great artists and songs that way.

More power to ya! Can't wait for the release.

Sorry for shouting from the soapbox .

Of course, as soon as I post this, I see Julius' smiley.

But there are people out there who would say just that, so my rant is valid but misplaced on this forum.

Lindyguy wrote:Of course, as soon as I post this, I see Julius' smiley.

But there are people out there who would say just that, so my rant is valid but misplaced on this forum.

Nevertheless, I think that's an important call that keeps being brought up. A few actions done here and there to keep the flow of finances going doesn't make you a sellout, as long as you keep a clear focus on whatever you do.
We don't all have to live as bohemians.

I like the songs fine, I was just amused at "we wouldn't ordinarily do this BUT..."

Just messin' with him. Jonathan knows I dig his band.

In general I don't object to people making money from artistic endeavors. I wish it would happen more often.

Really though, the question I have to ask when recording a song, is "does the world really need another version of BLANK?" or "Does the world really need a recording of this version of BLANK?"

For some of those tunes I would have said no before hearing the recording we made. IDMAT was just a last minute jam, that I was going send to a DJ who uses the song as her theme. After hearing the one take we did, I'm excited about it.

Campus Five wrote:Really though, the question I have to ask when recording a song, is "does the world really need another version of BLANK?" or "Does the world really need a recording of this version of BLANK?"

For some of those tunes I would have said no before hearing the recording we made. IDMAT was just a last minute jam, that I was going send to a DJ who uses the song as her theme. After hearing the one take we did, I'm excited about it.

Well damn, if I had know you made special DJ theme requests....

Actually, maybe I should start a new topic, but for now this will do... I've seriously considered (if I move back to California) putting together an event where the profits of said event would go strictly into subsidizing a recording event for the full Jonathan Stout Orchestra. The more I think about it, the more important I think it is to get your orchestra recorded. I'm not sure if there ever will be another group that will play the music you do, and it would truly be sad if a record of that was not made.

I really would like to talk to you off line about the costs and logistics of putting something like that together.

My phone number is on the website.

Hi.

So I thought a new Campus 5 CD was going to be released this spring, but it is now Memorial Weekend, and I haven't heard what happened to it.

I am moving out of this country in a couple of month, and I would like to buy it before I leave US (if possible), so I am curious when it is going to be released.

Thanks!