Patrick Bebelaar - Live


master tape order number: HH01.00.45
sales price incl. VAT: 398,00 EUR
sales price excl. VAT: 331,67 EUR
2 RTM SM468 Tapes on 10.5" Metal Reels
38cm/15IPS-CCIR-1/4inch-2 Track-510nWb

master tape order number: HH02.00.45
sales price incl. VAT: 148,00 EUR
sales price excl. VAT: 123,33 EUR
1 RTM LPR90 on 7" Plastic Reel
19cm/7.5IPS-NAB-1/4inch-2 Track-320nWb

vinyl order number: HH16.00.31
sales price incl. VAT: 33,00 EUR
sales price excl. VAT: 27,50 EUR

One of the greatest challenges of live recording is that it is extremely difficult to make changes or corrections to the music after it has been performed.  With hi-tech, multi-track equipment however, it is possible to alter a recording significantly by combining the best sections from several performances, correcting intonation or timing, and erasing unwanted material.  None of this is possible with a “direct to stereo” analogue tape recording where there is no chance -whatsoever to change anything once the recording is complete.  Every note and musical nuance of the performance, for better or worse, is captured for posterity.  Even the sound levels during the concert and the band’s internal balance are fixed and cannot be modified. 

On the one hand this entails risks, but on the other hand, it provides a true reflection of a real-life performance rather than one which has been artificially manipulated in order to achieve -apparent perfection. Nothing is covered up, tidied up, or carefully re-sculpted. Continuing the metaphor, we see beauty and ugliness, chaos and order, life and death, all in close company.  That might sound a little exaggerated. After all, we are only talking about music here.  However, music and the performing of music embody the musician’s most intimate personal expression. The music creates a dialogue between itself, the other musicians, the audience, and the instruments, all of which are faithfully captured by the analogue technology. This analogue technique not only prevents the producer from intervening and pandering to the listening public’s taste, but also protects against the musician who may be too vain to permit a true-to-life performance to be heard.  I too have fallen victim to such temptations. Seen in this way, I suppose one could think of a live analogue music recording rather like the musician’s therapy couch; a most revealing experience.

Patrick Bebelaar

FRANK KROLL: sopran sax, bass clarinet


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