Hutnicks
Headphoneus Supremus
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What Are You Listening To Right Now?
Radioking59
500+ Head-Fier
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linglingjr
Headphoneus Supremus
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Silent One
What silence said... then nothing.
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dc-k
Headphoneus Supremus
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"Untold" Azurium
and now
which is long due an airing
ChristianT
100+ Head-Fier
Listening to a local metal band, Sacred Dimension.
Andolink
500+ Head-Fier
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Matthew Locke: Curtain Tune in C major; Suite in G minor; Suite of Brawles in B flat
Matthew Lock & Robert Smith: incidental music to 'The Tempest'
The Parley of Instruments Renaissance Violin Band/Peter Holman
J. C. Bach: Sextet in C major for oboe, 2 horns, violin, cello and keyboard
The English Concert
Alexander Zemlinsky: String Quartet No. 3, Op. 19 (1924)
Escher String Quartet
Music of the later Middle Ages for Court and Church
Gothic Voices/Christopher Page
Matthew Lock & Robert Smith: incidental music to 'The Tempest'
The Parley of Instruments Renaissance Violin Band/Peter Holman
J. C. Bach: Sextet in C major for oboe, 2 horns, violin, cello and keyboard
The English Concert
Alexander Zemlinsky: String Quartet No. 3, Op. 19 (1924)
Escher String Quartet
Music of the later Middle Ages for Court and Church
Gothic Voices/Christopher Page
jasonb
Headphoneus Supremus
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- Sep 14, 2010
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Hi-Finthen
Self-confessed freak
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- May 24, 2006
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Trinity Session
[ 1988 ]
Cowboy Junkies
Recorded live at Toronto, Ontario'sChurch of the Holy Trinity on 27 November 1987,
with the band circled around a single microphone.
– it is stated on the album cover that the recording was made on 2-track RDAT using one single Calrec Ambisonic Microphone.
Peter Moore was enlisted and suggested the Church of the Holy Trinity in Toronto for its natural reverb. To better persuade the officials of the historic church, the band claimed to be The Timmins Family Singers and said they were recording a Christmas special for radio. The session began on the morning of 27 November 1987. The group first recorded the songs with the fewest instruments and then the songs with gradually more complex arrangements. In this way Moore and the band were able to solve acoustic problems one by one. To better balance Margo Timmins's vocals against the electric guitars and drums, she was recorded through a PA system that had been left behind by a previous group. By making subtle changes in volume and placement relative to the microphone over six hours, Moore and the band had finally reached the distinctive sound of the album by the time the last of the guest musicians arrived at the church.
The band was unable to rehearse with most of the guest musicians before the day of the session. Considering the method of recording and time constraints, this could have been disastrous for the numbers which required seven or more musicians, but after paying a security guard twenty-five dollars for an extra two hours, the band was able to finish, and even recorded the final song of the session, "Misguided Angel", in a single take.
Contrary to popular myth, the album was not entirely recorded in one day. In the hustle of the first recording session, the band forgot to record "Mining for Gold". Margo and Moore recorded the song a few days later during the Toronto Symphony Orchestra's lunch break.
Sleeve notes state that the recording was not mixed, overdubbed or edited in any way.
"Blue Moon Revisited (Song For Elvis)"
[ 1988 ]
Cowboy Junkies
Recorded live at Toronto, Ontario'sChurch of the Holy Trinity on 27 November 1987,
with the band circled around a single microphone.
– it is stated on the album cover that the recording was made on 2-track RDAT using one single Calrec Ambisonic Microphone.
Peter Moore was enlisted and suggested the Church of the Holy Trinity in Toronto for its natural reverb. To better persuade the officials of the historic church, the band claimed to be The Timmins Family Singers and said they were recording a Christmas special for radio. The session began on the morning of 27 November 1987. The group first recorded the songs with the fewest instruments and then the songs with gradually more complex arrangements. In this way Moore and the band were able to solve acoustic problems one by one. To better balance Margo Timmins's vocals against the electric guitars and drums, she was recorded through a PA system that had been left behind by a previous group. By making subtle changes in volume and placement relative to the microphone over six hours, Moore and the band had finally reached the distinctive sound of the album by the time the last of the guest musicians arrived at the church.
The band was unable to rehearse with most of the guest musicians before the day of the session. Considering the method of recording and time constraints, this could have been disastrous for the numbers which required seven or more musicians, but after paying a security guard twenty-five dollars for an extra two hours, the band was able to finish, and even recorded the final song of the session, "Misguided Angel", in a single take.
Contrary to popular myth, the album was not entirely recorded in one day. In the hustle of the first recording session, the band forgot to record "Mining for Gold". Margo and Moore recorded the song a few days later during the Toronto Symphony Orchestra's lunch break.
Sleeve notes state that the recording was not mixed, overdubbed or edited in any way.
"Blue Moon Revisited (Song For Elvis)"
Soundsgoodtome
Headphoneus Supremus
If you like the With Orchestra album this is a must have.
Mixed with a much better orchestral presence and a new lead singer
I didn't realize there was a new lead. I always thought that the album with the red letters was just recorded from a different concert.
S potify has the black and white album.
Potify
