Blown Away, Most High Part 1

["S R.-Weiser" <s_dweisr@xxxxxxxxxxx>]

Hello to All of You,
First let me say this song grows on me with each play.
I am sure the street side version will be alright.

Thanks to the ingeniousness of Alan McDonald (Aye there matey)
I TECHNICAL PRODUCTION ISSUES-Melody, Performance and Mix
The "Most High" wav version is obviously a preliminary version of the work
rather than a final studio cut.
To be very, very specific
1. Robert's voice is too far forward in the mix, by about 6 to 8 decibels
2. The microphone and surrounding acoustical environment used to record
Robert's voice were too flat,
cold toned and dead. 

A sense of dynamic space was always one of the fun things about Robert's
voice. I always thought it was grand that he sounded as though he was
singing in an abandoned cathedral, temple, sacred cave or other large echo
producing structure. A good example of this is his voice as per the
re-mastered version of "Gallows Pole."  In fact Robert's voice is carefully
displayed on every cut on the remastered version of III. Laon Cathedral or
Chartres or the Sun Chapel at Versailles might be perfect for the echoing
voice, Robert, you ought to try them sometime if you haven't already. It
could really bring a smile to your face.
All I've got to say Robert is:
WHERE'S RUSTY?

3. Jimmy's guitar playing is a serious tease. All of the subplots are in
place. AHHH! AHHHHHH! Ahhhhhh! Ouch, it hurts so good. I can hear the
missing solo EVEN THOUGH ITS NOT BEING PLAYED!
ARRGGGGHHHHH! OHHHHHH JIMMMMAAAAA PLEASE make it sound so good like 10-17-88?
4. Who mixed this song?
I don't know who told Robert and Jimmy this new technology was great, but I
will say this. Would they have been better off going to Muscle Shoals or
something like it? I realize what all of us here have been privileged to
hear is a raw cut. But my god my dear sirs it only takes fifteen minutes to
sample everybody for the sound level prior to doing the first take so you
don't have to spend so much time retooling the re-mix later down the line.
Spend a penny upfront save thousands later. I know, beggars can't be choosers.
5. There is a big rift between the block of Robert and Jimmy's tracks as a
unit in the mix and the rest of the instrumentation. Again this sounds like
a serious lack of attention to track balance on the part of the engineer.
Sorry Mr. Albini, unless what we're hearing out here is the absolute first
useable take then I think you're a naughty boy. I would have hoped this was
a studio speaker or headphone technical problem rather than a conscious
decision to do something different. Or the equivalent of drawing a blue
line rough before you draw in the pencil. I hope this is not like what
happened at Sunset Studios all over again. Remember the only good thing
that survived that was "When the Levee Breaks." The rest of this early mix
sounds like it's about four to six decibels down and the expert
geometricising of the instruments is missing. Most of the sound comes out
of one speaker only. Balance is missing. It looks like Jimmy didn't have
his hands on it yet to build the sound. and stamp it with his chiarscuro
mark of quality.(No bootleg pigs are squealing yet?)
What is disturbing is how did this get all the way to distribution? I know
Hugh said this was a preliminary version. Haste makes waste.
Recommendations, throw all of those microphones away!  Hell, for room and
board and my share of the bills at my home I'would have jumped right in
there and twirled the knobs, pushed the buttons and manned the sliders on
the mixing board myself for the first take. One gets the impression Jimmy
delegated authority for this version instead of doing it all by himself.
NO! NO! NO!
You know Jimmy if you want it done right, what if you had done it yourself?
When a listener embraces your work they experience it with senses that go
beyond normal hearing. Thats why I've continued listen to your music for
more years than I care to admit. At least in the analog recording there is
a continuous signal generated, not a flickering one. Sorry all you DAT
tapers and CD burners.
6. Where's the SPACE?
After Robert persuaded the flight attendant that he had a big love for her,
she persuaded him to use the plane's restroom to record this song in at a
later date. Chaco Canyon might have had more resonance.
However after all my ranting and raving, I'm sure the real release of
"Walking into Clarksdale" is worth the wait and several of the songs will
stand up close to Kashmir or Achilles etc. I don't think Jimmy or Robert
have turned their backs, the wav version of "Most High" is only rehearsal
level and not the symphonic evening matinee. I heartily hail your effort
gentlemen, you have not lost your touch.
Sincerely,
Shar
The Pink Lady
copyright 1998