They are there, however Karen’s drums are in mono, whereas Bissonnette’s drums are in stereo so his drums are doing the audible acrobatics.Is any of Karen’s drumming left on these tracks where new drums have been recorded? Because I can’t hear them, so I don’t understand why she’s credited.
Interesting--Bissonette was a local. His family went to my great aunt's church back in the days, so she sort of followed his (and his brother, bass player Matt Bissonette's) career along the way. He played in a lot of the local big bands, and has played on numerous jazz and rock gigs, notably on two of ex-Van Halen frontman David Lee Roth's solo recordings, Santana's Supernatural, and was with Maynard Ferguson's big band on Live in San Francisco. Very talented!An addition to credits for
Drums on Ticket To Ride:
Karen Carpenter and Gregg Bissonette.
Yes, this is exactly my complaint about this IMHO unlistenable release--nobody, nothing, can replace those original performances, both in terms of the original musicians and the way they were originally recorded. I'm not knocking the talents of any of the musicians or engineers involved, but layering new elements on top of the originals destroys that original chemistry, both in terms of musicianship (with them all playing together at the same time in the studio) and in terms of how it all gels with the sonics of it--I found the handful of tracks I listened to sounded very disjointed and unsettling. Sounds like music assembled by committee or worse yet, "constructed" in ProTools. We can't add pristine new digitally recorded tracks on top of analog recordings made in the 70s--it just doesn't work. Nothing sounds right. Even the re-recorded parts on prior compilations suffer from this.I've said it before... This is the first time we've experienced The Carpenters in a digital format.
So, hearing added drums and strings is a bit jarring because you can perceive each track a lot clearer than before.
Modern advances in music seem to add more sparsity to the sound.
The analogue hiss is no longer there.
It used to be that everything blended quite well together, imo.
Do we know when Richard switched to "all-digital" for the remixes, since according to the richardandkarencarpenter.com website, in the early-2000's Richard was still using the analog recorders and Dolby equipment at A&M/Universal to record the remixes, and then doing the editing digitally. So it would seem that, at least up to 2009 (and the 40/40 release), all the remixes had an analog component, albeit in some cases, like when he used the DX-7 keyboard, that was a digital instrument, but recorded on analog tape.Even the re-recorded parts on prior compilations suffer from this.
The only time I heard anything jarring or disjointed remix-wise was "Merry Christmas Darling 1992 Time-Life Remix."Even the re-recorded parts on prior compilations suffer from this.
For me, the overall “blend” of the individual multitracks is compromised on some of the RPO songs. The instruments sound too separated spatially, the drums are too loud and too busy and, dare I say it, the digital airbrushing has removed a lot of the ambience. You can actually make things too perfect sometimes. One of the most noticeable differences for me is that on For All We Know, the beautiful background vocals on the second chorus are almost inaudible due to the new orchestration, so there’s something not right about that mix to my ears.The RPO experience for The C's was the first time I could say I wasn't crazy about the album's mix [...] There was a loudness and messiness about it I didn't expect..
Agreed--remixing isn't as big of an issue, if they are true remixes where existing parts are mixed differently. But in cases where Richard re-records his piano part, as one example, you have this modern-sounding piano recorded in a different studio, using different mics and recording console (and most likely a different engineer who has his own methods of recording, which can include mic placement, different ways of manipulating the sound before it's recorded to tape). I find it never gels.The only time I heard anything jarring or disjointed remix-wise was "Merry Christmas Darling 1992 Time-Life Remix."
Other than that his remixing in the 80s-2000s didn't have anything jump out at you.
This is more about how it actually sounds wrong, sonically, than preferring a specific version.It's a phenomenon I've noticed many times.... the "first" version of something you hear turns out to be your favorite.
That’s basically what I said at an earlier thread. With ‘Merry Christmas Darling’ in the middle of the program, to my ears it plays like a “greatest hits/ holiday concert”.With the RPO, I don’t think that Richard And Universal were looking for a “remix” album, but an album that made you feel like you were at the NAC in Ottawa or another concert hall and you were hearing Karen and Richard performing their hits, but with the RPO. In a way, the RPO album is a “Live” album —- just think of how in a “Live” concert everything is not going to sound just like the CD but you are able to pick out certain instruments.
But, Richard said in the past he doesn't even like live concert albums.With the RPO, I don’t think that Richard And Universal were looking for a “remix” album, but an album that made you feel like you were at the NAC in Ottawa or another concert hall and you were hearing Karen and Richard performing their hits, but with the RPO. In a way, the RPO album is a “Live” album —- just think of how in a “Live” concert everything is not going to sound just like the CD but you are able to pick out certain instruments.
I know it's already achieved Silver status awhile back in the UK, it has to be getting close to Gold by now Simon? Still surprised that there has been no promotion or appearances by Richard in the US!