Post by CountryCrock on Mar 11, 2024 3:12:58 GMT
177MB
mega.nz/file/xX8yFb7B#JLhZXEPA-87l_-KVcuPL8K-1CxS9wRX2H4cpsdtsbS0
The reason why the recording of this song is so infamously "bad" is, because: it's a fake stereo track made from two, different MONO work parts layered over one another (the rhythm track and their vocals are mono, while the horn section overdub is mono also) and...all the excessive, ersatz duophony reverb just tries to obfuscate that plain fact (making it worse!). They should've done it as a straightforward Folkie shuffle instead. I think(?): either S&G, or Roy Halee, may have felt it was too self-consciously similar (though, a helluva LOT more cynical) to a "59th Street Bridge Song"-type vibe already and, that's why Halee gussied the production of it up so much?
Isolate the channels and do a quick back-and-forth listen between the right and left *separately* up until the 2 : 08 mark (where: the only stereo miking occurs when, yet, another overdub is added; this time of Hal Blaine adding a bass drum "sendoff"). You'll realize all the midrange is cut on the left (from about: 650Hz - 4000Hz), and the bass (up until 2 : 08 when, suddenly, the bass drum overdub comes out of what had been the opposite/prior-"treble side") is filtered out of the right.
It would not be as casually apparent to someone using vinyl as a reference (as vinyl has its own, particular phase distortions and equalization which tend to "blend" the upper-bass/lower-midrange spectrum A TAPE DOES NOT), but it is immediately recognizable with a format closer to the master media.
The best vintage analog source of BRIDGE OVER TROUBLED WATER which could possibly/theoretically exist would be, if(?): there is a CBS Japan 7 1/2ips reel of it. It *would* be ultra rare; however, Sony kept manufacturing reels of various Columbia American albums at then-consumer "audiophile" playback speed for the Japanese market after Columbia in New York had stopped in August 1969 (except for: Classical, Original Cast, and Soundtrack tapes through 1971).
(Of course, Hoffman's dipshit criminal crew -with, like, 30 YouTube channels by now i.postimg.cc/0Qb0VY9K/Screenshot-20240310-133613-Gallery.jpg i.postimg.cc/s2KT6fSq/Screenshot-20240310-133725-Gallery.jpg run by this guy i.postimg.cc/MZjpSnT7/Screenshot-20240228-073928-Gallery.jpg - have such ethically/financially/medically compromised judgement i.postimg.cc/dtf8HkLz/Screenshot-20230906-104431-Gallery.jpg ...
they just make it up out of their a$$ to see how far they can try to get away with it.)
i.postimg.cc/tT1kkKbH/Polish-20230129-005424532.jpg
i.postimg.cc/nhRw1YmB/Polish-20230129-010208127.jpg
i.postimg.cc/hvt2xXGp/Polish-20230129-005350692.jpg
i.postimg.cc/sfBrtxmp/Polish-20240309-211309694.jpg
mega.nz/file/xX8yFb7B#JLhZXEPA-87l_-KVcuPL8K-1CxS9wRX2H4cpsdtsbS0
The reason why the recording of this song is so infamously "bad" is, because: it's a fake stereo track made from two, different MONO work parts layered over one another (the rhythm track and their vocals are mono, while the horn section overdub is mono also) and...all the excessive, ersatz duophony reverb just tries to obfuscate that plain fact (making it worse!). They should've done it as a straightforward Folkie shuffle instead. I think(?): either S&G, or Roy Halee, may have felt it was too self-consciously similar (though, a helluva LOT more cynical) to a "59th Street Bridge Song"-type vibe already and, that's why Halee gussied the production of it up so much?
Isolate the channels and do a quick back-and-forth listen between the right and left *separately* up until the 2 : 08 mark (where: the only stereo miking occurs when, yet, another overdub is added; this time of Hal Blaine adding a bass drum "sendoff"). You'll realize all the midrange is cut on the left (from about: 650Hz - 4000Hz), and the bass (up until 2 : 08 when, suddenly, the bass drum overdub comes out of what had been the opposite/prior-"treble side") is filtered out of the right.
It would not be as casually apparent to someone using vinyl as a reference (as vinyl has its own, particular phase distortions and equalization which tend to "blend" the upper-bass/lower-midrange spectrum A TAPE DOES NOT), but it is immediately recognizable with a format closer to the master media.
The best vintage analog source of BRIDGE OVER TROUBLED WATER which could possibly/theoretically exist would be, if(?): there is a CBS Japan 7 1/2ips reel of it. It *would* be ultra rare; however, Sony kept manufacturing reels of various Columbia American albums at then-consumer "audiophile" playback speed for the Japanese market after Columbia in New York had stopped in August 1969 (except for: Classical, Original Cast, and Soundtrack tapes through 1971).
(Of course, Hoffman's dipshit criminal crew -with, like, 30 YouTube channels by now i.postimg.cc/0Qb0VY9K/Screenshot-20240310-133613-Gallery.jpg i.postimg.cc/s2KT6fSq/Screenshot-20240310-133725-Gallery.jpg run by this guy i.postimg.cc/MZjpSnT7/Screenshot-20240228-073928-Gallery.jpg - have such ethically/financially/medically compromised judgement i.postimg.cc/dtf8HkLz/Screenshot-20230906-104431-Gallery.jpg ...
they just make it up out of their a$$ to see how far they can try to get away with it.)
i.postimg.cc/tT1kkKbH/Polish-20230129-005424532.jpg
i.postimg.cc/nhRw1YmB/Polish-20230129-010208127.jpg
i.postimg.cc/hvt2xXGp/Polish-20230129-005350692.jpg
i.postimg.cc/sfBrtxmp/Polish-20240309-211309694.jpg