Cody Chesnutt Landing On A Hundred Rar Files
Click to expand. I read this, too. The two stories, that this was recorded in Memphis on 2' tape and the album info, don't seem to jibe. Yes, Royal Studios is listed but only for part of the recording. I'm also sure 2' analog tape was used some point along the way.
But I'm trying to get this picture in my mind of boxes of 2' tape being shuttled all over the world. Certainly this was done 30 years ago but today? I just don't see it. I hope I am proven wrong.Here are the full recording and production credits from the album sleeve:Produced by:Cody ChestnuTTPatrice Bart-WilliamsMr Matthew JohnStudios:Royal Studios - Memphis, TennesseeRecording Engineer - Boo Mitchell(rhythm Tracks, horns, handclaps)J.
Ssentric Entertainment Inc - Tallahassee, FL.Recording Engineer - Robert Brown(pre-production, backing vocals)Supow Studios - Cologne, GermanyRecording Engineer: Ricky OjijoMatt KarmillStrings:Strings arranged and conducted by Izzi DunnPerformed by the Demon Strings. Recorded atThe Fish Factory, London UK by Desmond LambertMixing:Supow Studio, Cologne Germany by Richard OjijoAssisted by M. Schlindwein, T.
Olleschik and T. KamphausenMastering by:Stefan Heger at Fisheye MusicAssistant Engineer: M. Schlindwein, T. Olleschik and T.
I read this, too. The two stories, that this was recorded in Memphis on 2' tape and the album info, don't seem to jibe.
Yes, Royal Studios is listed but only for part of the recording. I'm also sure 2' analog tape was used some point along the way. But I'm trying to get this picture in my mind of boxes of 2' tape being shuttled all over the world. Certainly this was done 30 years ago but today?
I just don't see it. I hope I am proven wrong.Here are the full recording and production credits from the album sleeve:Produced by:Cody ChestnuTTPatrice Bart-WilliamsMr Matthew JohnStudios:Royal Studios - Memphis, TennesseeRecording Engineer - Boo Mitchell(rhythm Tracks, horns, handclaps)J.
Ssentric Entertainment Inc - Tallahassee, FL.Recording Engineer - Robert Brown(pre-production, backing vocals)Supow Studios - Cologne, GermanyRecording Engineer: Ricky OjijoMatt KarmillStrings:Strings arranged and conducted by Izzi DunnPerformed by the Demon Strings. Recorded atThe Fish Factory, London UK by Desmond LambertMixing:Supow Studio, Cologne Germany by Richard OjijoAssisted by M. Schlindwein, T. Olleschik and T. KamphausenMastering by:Stefan Heger at Fisheye MusicAssistant Engineer: M. Schlindwein, T. Olleschik and T.
Cody Chesnutt Albums
The UK pressing is on the One Little Indian label, and the deadwax (and Google) indicate that it was mastered by Greg Moore at Masterpiece Mastering in London. The liner notes don't give any indication of what sources were used, and credit Stefan Heger at Fisheye Music (I assume this is just copied from the CD and/or the US LP release.Yeah, I trust jacket artwork about as far as I can throw it. Let's just say it's easier to work from one set of InDesign or Photoshop files than edit and send a correct set to another pressing/printing plant. Mastering engineers continue to inscribe for a reason. (Well, some of them.)Thanks guys, for the heads up on both iterations. I didn't even know there were 2 pressings.
Seems very odd one would be cut at 45rpm and brickwalled. Doesn't have to be 'from a CD' to be dynamically squashed however - all that's required is a record label who hates music and a willing engineer to bring it to fruition. Alrighty, and hopefully more to the point:Chesnutt's label for this is One Little Indian. That it's the best version - the 'original intent' as it were - shouldn't be a surprise.Redeye here in the U.S. looks like a record label and various music blogs announce new music as 'coming from Redeye' - true enough - but even their site's title bar gives it away.
They are not 'a label' in the usual sense of signed artists to a roster. That would be One Little Indian.
Redeye took the contracted content from elsewhere and had their own version made.It's also worth noting that while Redeye Distribution distributes in Australia it's not the same as Redeye Music in Australia and neither entity had anything to do with what got.It's a shame artists or 'main' labels or producers or whomever allow apparently kludged-up copies to be made as official releases for some customers. No wonder the music industry hurts - the left hand doesn't know (or care) what the right hand is doing.Thanks again guys.
Researching that basic info took far less time than editing and writing about it. Had to reduce the vitriol somewhat before hitting the Post button, and yet I still failed to withhold some possibly unjustified editorializing at the end.What I mostly object to however is relevant, which is that the music industry tends to act as if all concurrent versions of a title are interchangeable / functionally identical with regard to sound quality when history has shown they are not. The biggest worry is the philosophical second-guessing done when creating for other markets. I'm not a Marketing Expert but this practice remains strange.I too saw that Redeye as several contacts listed on their site. Right there, there's more openness than many other entities show, assuming anyone there knows or is willing to comment about what was done or why. Redeye here in the U.S.
looks like a record label and various music blogs announce new music as 'coming from Redeye' - true enough - but even their site's title bar gives it away. They are not 'a label' in the usual sense of signed artists to a roster. That would be One Little Indian. Redeye took the contracted content from elsewhere and had their own version made.It's also worth noting that while Redeye Distribution distributes in Australia it's not the same as Redeye Music in Australia and neither entity had anything to do with what got. I have been listening to the CD of this for a few weeks and absolutely love it. I was aware of Headphone Masterpiece however I never had the opportunity to listen to it - until reading this thread today.
I downloaded it via MOG and listened to it for the first time a few hours ago. What a MASTERPIECE - this album is fantastic!Here is the question. It has been mentioned that the vinyl from this was done in only 500 copies - 3 lp's. Amazon UK had one listed (the only one left) and I grabbed it. Is this the original issue from all those years ago? Some internet sleuthing appears to show up a 200g DMM mastered vinyl second pressing however that is only listed as one single lp - the one I just purchased this evening is a three lp set. Any ideas?ThanksGregg.
I have been listening to the CD of this for a few weeks and absolutely love it. I was aware of Headphone Masterpiece however I never had the opportunity to listen to it - until reading this thread today. I downloaded it via MOG and listened to it for the first time a few hours ago.
What a MASTERPIECE - this album is fantastic!Here is the question. It has been mentioned that the vinyl from this was done in only 500 copies - 3 lp's. Amazon UK had one listed (the only one left) and I grabbed it. Is this the original issue from all those years ago? Some internet sleuthing appears to show up a 200g DMM mastered vinyl second pressing however that is only listed as one single lp - the one I just purchased this evening is a three lp set. Any ideas?ThanksGregg.
Listening to the lp right now. Overall it sounds pretty good, I'd grade it a B for sound I guess. I'm only through side 1 though. As far as being cd mastering, the main thing that might point to this would maybe be the bloated bass I'm hearing.
It reminds me of the Chili Peppers By the Way lp but not as loud or as bad.It sounds like there is a great recording here though. The music is really good.How good is the UK version? If I'm going to hunt it down, I want it to be a nice improvement.If I have to import this add it to my list (Tame Impala, Sigur Ros & The XX) where the EU version is a better mastering/pressing. I received the UK version of the Landing On A Hundred LP yesterday and played it last night. It is definitely a better pressing than the American one.The vinyl is much thinner and it is cut at 33 instead of 45, but the sound is more dynamic and the treble hash I heard in the US press is gone. It's definitely more a more musical pressing.It's a shame the US version was overly compressed. It didn't need to be that way.
This record is not that dynamic in the first place. It was produced 'by the book', which means each instrument is squashed, shelved and panned to its own little corner of the mix. The horns, for example, are really compressed with their lows and highs rolled off, the glare of the horn biting through. Often panned over to the side - I mentioned this upthread but this really is a stereo recording, with instruments all over the soundstage - they sit there, cutting through the mix, one constant volume, always audible, always up front (there is very little depth to this recording). That's true with all the instruments and the vocal. It's a modern pop mix. You hear everything clearly.
It's all in your face but in a good way.Certainly some songs are more dynamic than others, especially in the bass. Some albums rock. This one rolls. It passes my highest test: it's danceable.I really like Cody ChestnuTT and this record. The UK press of the LP is the one to buy. I received the UK version of the Landing On A Hundred LP yesterday and played it last night.
It is definitely a better pressing than the American one.The vinyl is much thinner and it is cut at 33 instead of 45, but the sound is more dynamic and the treble hash I heard in the US press is gone. It's definitely more a more musical pressing.It's a shame the US version was overly compressed. It didn't need to be that way. This record is not that dynamic in the first place. It was produced 'by the book', which means each instrument is squashed, shelved and panned to its own little corner of the mix.
The horns, for example, are really compressed with their lows and highs rolled off, the glare of the horn biting through. Often panned over to the side - I mentioned this upthread but this really is a stereo recording, with instruments all over the soundstage - they sit there, cutting through the mix, one constant volume, always audible, always up front (there is very little depth to this recording). That's true with all the instruments and the vocal. It's a modern pop mix. You hear everything clearly. It's all in your face but in a good way.Certainly some songs are more dynamic than others, especially in the bass. Some albums rock.
This one rolls. It passes my highest test: it's danceable.I really like Cody ChestnuTT and this record. The UK press of the LP is the one to buy.