From Wrecking Crew News:

Hi Wrecking Crew supporters!

After playing to great response at SXSW, Buffalo, Nashville and Seattle Film Festivals (see reviews), we are thrilled to announce that ‘The Wrecking Crew’ documentary will have it’s Los Angeles premiere on June 28th, 2008. The film will play under the banner “Movies That Matter” as part of the Grand Performances Program in downtown LA at 350 S.Grand. Ave.

This is a free, outdoor festival-style screening under the stars. You can bring a picnic, deck chairs, blankets and even white wine, they don’t allow red wine as it can stain the granite in the Festival area. If a picnic is not your speed, there are some great restaurants in the area. Even though tickets are free, please make sure you allow yourself plenty of time to eat and find a place to sit. Don’t forget a chair or blanket.

We are also very honored to announce that the presentation of the film will be followed by a live performance by Wrecking Crew alumni Hal Blaine (drums), Carol Kaye (electric bass), Don Randi (piano) and Chuck Berghofer (upright bass). Vocals by Julia Fordham and other guest aritsts.

Please Help Us Spread The Word. Its Very Important That Musicians And Music Lovers Know Of This Event. Thanks For Your Support.

I wrote a bout the Wrecking Crew movie here earlier.

Via Spreeblick I found this. It looks to me like a modern day theremin. By attaching it to a computer you can control virtual instruments – so the sound has no boundaries.

geekalerts.com writes:

The Beamz is a laser-based invention that is connected to a computer via USB. This allows you to play hundreds of musical instruments in a true Jean Michel Jarre style by breaking the laser beams with your hands.

The beamz system has a ‘W’ shape, with six laser beams spanning the two sections; connect via USB to your PC or laptop, and hook up some speakers. The simple, intuitive computer interface makes it easy to choose any of 30 included songs in 19 musical genres for laying down a complementary rhythm track. The beamz library includes original works in jazz, bluegrass, classical, hip-hop, reggae, heavy metal and more

read more at GeekAlerts

This gives me the idea of having an invisible recording studio in the living room… Should be possible!

Introducing the Musical Rumba Series! Musical Furnishings is very excited to introduce the Musical Rumba Series. Design your own personal drum table with durable, interchangeable and rearrangeable percussion inserts. Choose from four different sized tables to suit your musical and space needs. The smallest table accepts four of the smaller instruments and the largest accepts sixteen. Make sure to watch the videos below and carefully consider which inserts you desire. The tables are easily shipped UPS and only require the legs to be attached (very easy requiring no tools) All orders are hand built by NW Artist Tor Clausen in his Studio in Olympia WA.
…

Unless otherwise noted, these are single modules (8?x 8?x varying depth). Note that the large 4×4 table has all of the 12 modules and the snare and cajun drum are larger thereby explaining why 12 modules can fill a 16 module table.

1 ) Tamborine
2 ) Snare Drum (takes the space of two modules, 8?x16?)
3 ) Medium Bongo
4 ) Low Bongo
5 ) High Bongo
6 ) Shaker
7 ) Chimes
8 ) Bell
9 ) Cow Bell
10) High Hat (adjustable)
11) Cajon Bass Drum (takes the space of 4 modules, 16?x16?)
12) Cymbal Crash

Musical Furnishings

Wow! A website dedicated to bringing back dynamics into modern recordings. I applied there with Tiki Traveling. Hopefully they accept that recording. I will do my best to support the project. I recorded TTWKK in the consciousness of making an anti-loudness record. Being mainly for soundtrack use, I could more easily fight the temptation of being competitive with music recorded for radio, music-tv or a teenager’s music collection, but aimed for the late fifties/early sixties hifi stereo sound instead. Think Command LPs with Bauhaus covers (Enoch Light’s label). I mixed and mastered for a good, enduring listening experience.

These records say: Turn me up! Your stereo deserves being turned up as much as your guitar amp or vehicle. Simply sounds better. Dials are more precise up the scale, too.

I wrote about the so called loudness wars earlier on this blog.

Quote from Turn Me Up!

Turn Me Up!™ is a non-profit music industry organization
campaigning to give artists back the choice to release more dynamic records. To be clear, it’s not our goal to discourage loud records; they are, of course, a valid choice for many artists. We simply want to make the choice for a more dynamic record an option for artists. …

Turn Me Up! | Bringing Dynamics Back To Music

Here’s another link to an article on over-compression of music.

EQ stands for equalization.
I want to write about the two knobs that old school consumer electronics had. The treble and bass controls on radios and amplifiers. Do you know somebody who always turns them up? Changing all the sound coming out of his stereo to his or her preferences. But what are these preferences based on?

He or she
… has paid for these knobs and just has to use them.
This habit is actually lowering the mids. The poor mids don’t have a knob of their own, and by boosting their neighbors they get behind in the frequency balance of the undoubtedly preference based volume adjustment.

… claims to compensate lacking gear or room acoustics.
What about the car stereo – same problem? The old radio – same problem? Incidentally the same problem in all audio gear within reach of this person. Try speaker (re-)placement.

… got used to the sound long ago.
This is probably true, but turning the knobs up is covering the symptoms, it’s not the cure.

… finds it sounds more hi-fi
This comes from a youth spend with very old or very cheap radios, receivers, cassette-players or compact record-players. The veils went up when the first proper hi-fi entered the living room. Like blankets were removed from the speakers. It’s a nice metaphor. Unfortunately I can’t provide one about dwarved mids.

The mids. They are the core of music. Many musical pieces were written for solo instruments or small ensembles exploring the beautiful kindom of mids. There’s considerably less music written for glockenspiel, triangel or cymbals. Strange, considering how hi-fi that would sound. Simply put, these treble instruments are the icing on the cake of music, but not the cake itself. Also few solo pieces for double-bass or tympany are being performed regularly. They just don’t deliver the goods, the mids.

Melodies live in the kingdom of mids. And you also find the most beautiful and complex harmonies there. You don’t hear a jazz chord with a root above 10khz. Or below 60hz. So by boosting these cake-icing frequencies you get less cake. Which you paid for too! Not only in your stereo gear, but the music itself as well. A professionally mastered recording is sounding good on neutral speakers. A serious test in the life of a piece of recorded music. Consumer speakers are much more music friendly, in the sense that they make even mediocre masters or mislead eq-adjustments sound acceptable. Find out the truth about the music you hear! If you don’t like it with the neutral eq-setting, try different music.

One exception! If you are desperately un-musical, lowering the key musical frequencies by boosting highs and lows (and pushing the important loudness knob!) will help you move the irritating differences in musical compositions to the background.

via Moritz ®

A film by Denny Tedesco
What is the Wrecking Crew?

The Wrecking Crew were a group of Studio Musicians in Los Angeles in the 60s who played on hits for the Beach Boys, Frank Sinatra, Nancy Sinatra, Sonny and Cher, Jan & Dean, The Monkees, Gary Lewis and the Playboys, Mamas and Papas, Tijuana Brass, Ricky Nelson, Johnny Rivers and were Phil Spector’s Wall of Sound. The amount of work that they were involved in was tremendous. …

here’s the trailer

Song List (the links go straight to iTunes):

5th Dimension
Let the Sunshine in/Aquarius
Stone Soul Picnic
Up Up and Away
One Less Bell to Answer

Association
Windy
Never My Love

Beach Boys
California Girls
Don’t Worry Baby
Fun Fun Fun
God Only Knows
Good Vibrations
I Get Around
Sloop John B

Byrds
Mr. Tamborine Man
Turn Turn Turn

Glen Campbell
By The Time I Get to Phoenix
Gentle on My Mind
Wichita Lineman

Captain and Tennille
Love Will Keep Us Together

Carpenters
Close to You
We’ve Only Just Begun

Cher
Gypsies, Tramps and Thieves
Half Breed

Chipmunks
Chipmunks Theme

Nat King Cole
Ramblin Rose

Sam Cooke
Twisting the Night Away
You Send Me

Crystals
And He Kissed Me
Da Doo Ron Ron
He’s A Rebel

Bobby Day
Rockin’ Robin

Defenders
Taco Wagon

Shelley Fabares
Johnny Angel

Richard Harris
MacArthur Park

Jan & Dean
Dead Man’s Curve
Surf City
Little Old Lady From Pasadena
Balboa Blue

Gary Lewis and the Playboys
Everybody Loves a Clown
Sure Gonna Miss Her
This Diamond Ring

Barry McGuire
Eve of Destruction

Mamas & Papas
California Dreaming
Creque Alley
Dedicated to the One I Love
Monday Monday

Henry Mancini
Pink Panther

Marketts
Out of Limits
Surfer Stomp

Dean Martin
Every Body Loves Somebody

Scott McKenzie
Are You Gonig to San Francisco

Monkees
Mary Mary
Valerie

Chris Montez
Let’s Dance

Ricky Nelson
Fools Rush In

Wayne Newton
Danke Schoen

Jack Nitzsche
Lonely Surfer

Harry Nilsson
Everybody’s Talking At Me (Echoes)

Partridge Family
Come on Get Happy

Elvis Presley
A Little Less Conversation
Viva Las Vegas

Paul Revere & the Raiders
Indian Reservation

Righteous Brothers
Unchained Melody
You’ve Lost That Loving Feeling

Rip Chords
Hey Little Cobra

Johnny Rivers
Poor Side of Town

Tommy Roe
Dizzy

Ronettes
Be My Baby
I Saw Mommy Kissing Santa Claus

Routers
Let’s Go

Sandpipers
Guantanamera

Lalo Schifren
Mission Impossible

Simon and Garfunkel
Mrs. Robinson

Frank Sinatra
Strangers in the Night
That’s Life

Nancy Sinatra
These Boots Were Made for Walking
Drummer Man

Sonny and Cher
The Beat Goes On
I Got You Babe

T-Bones
No Matter What Shape Your Stomach Is In

Nino Tempo & April Stevens
Deep Purple

Tijuana Brass
Lonely Bull
Spanish Flea
Taste of Honey
Whipped Cream
Zorba the Greek

Ike and Tina Turner
River Deep Mountain High

Ritchie Valens
Donna

Bobby Vee
The Night Has a Thousand Eyes

Ventures
Hawaii 5-O

Mason Williams
Classical Gas

Roger Williams
Born Free

Great stereo recording demonstration. It’s incredibly real, use headphone to hear the stunning effects. You don’t get there with panned mono. I guess they used headphone mics and a little processing of some kind. Curious? Click here.

After last weeks enlightening video on loudness processing, we are getting deeper into modern recording technology right now!

The dices fell a couple of years ago, but there’s still some discussion on this topic (started at Wired). I must say that digital recording and especially the processing of digital audio have developed a great deal in the right direction. If all that is written in the linked MOG entry is true and profound, than why are there one bit recorders becoming affordable?

I recently hooked up my turntable again, and after a break of more than six months, only listening to digital audio (CDs are digital audio too, in case you didn’t know), I must tell you that listening to music reproduced in an unbroken analog chain is like a warm shower. I read that 1 bit recorders are able to reproduce that, by not having a sampling rate, which is usually about twice the frequency we are able to here, in consumer products/files. Talking about dices.

However, I believe people rate a good tune higher than audio-fidelity. They listen to the lady on the phone, not the phone. I take it as a compliment as composer, and an inspiration as a sound engineer.

What a great find! Somebody on a audio recording board posted this link.

It’s an animated movie explaining “loudness”. It’s a high average volume level. Meaning there’s less softer parts in the music. If you read this you probably have a chance of enjoying old music. You probably think about the old recordings as being played by real musicians, on real instruments, projecting real emotions and so forth. All fine an dandy with me. But that’s not all there is to it. They recorded it differently! The guys at the record companies enjoyed loud parts coming after quieter parts. A scary movie is most scary when nothing is really happening, but your senses tell you that something could and probably will happen. Then when all the screams come on, its not scary anymore. You are scared in the fracture of a second actually, the transition from quiet to loud.

With modern music it’s like horror screams all of the time. No wonder most people eventually turn away from it. At first (your early teens) you think “cool – it’s really loud”. But as an adult you will find that the dimensions offered in music are richer for your enjoyment.

Many professionals in the recording industry think that this loudness war is one thing that is hurting the music business of today. Also consider the fact that an artist will sound wimpy on stage by comparison to his recordings. You didn’t read about booed off the stage superstars in the 50s, 60s and 70s. Or even the 80s. It’s fans robbed off another illusion. And they start realizing they have one voice.

Folke Jensen engineered The Looney Tunes band’s second album Modern Sounds of… at his Ultraschall Studio in Hamburg, back in 1995.

Many consider this to be my former surf-band’s best album, and a key factor is the great sound Folke managed to capture on tape.

His project Ledernacken is here on MySpace.

That is a pioneering electronic thing, but trust me when I say he knows what great vintage sound is about.