Tip jar

If you like CaB and wish to support it, you can use PayPal or KoFi. Thank you, and I hope you continue to enjoy the site - Neil.

Buy Me a Coffee at ko-fi.com

Support CaB

Recent

Welcome to Cook'd and Bomb'd. Please login or sign up.

March 28, 2024, 05:25:41 PM

Login with username, password and session length

Astonishing live performances on YouTube

Started by Blinder Data, December 19, 2014, 09:14:22 PM

Previous topic - Next topic

Ferris

Quote from: DukeDeMondo on May 25, 2018, 06:25:35 PM
Nick Cave on TOTP circa-1978.

Fucking hell... devastating. I'm a huge Nick Cave fan and I've never seen him that raw before. Amazing.

non capisco

At the very end of that electric Nick Cave clip there's half a second or so of a stunned Peter Powell unable to comprehend what he has just seen. He impulsively emits a forced laugh which was subsequently entered into the Guinness Book Of Records as "the world's most dickhead sound". After a contested judges' decision he was also awarded the prize of "the world's most dickhead facial expression", a title he still to this day holds.

thraxx


Sorry for resurrecting an old thread, but I didn't feel I wanted to start a new one.

https://www.youtube.com/watch?v=YgWnrIC8X-k&t=1793s

https://www.youtube.com/watch?v=_J5-57lRxAM

https://www.youtube.com/watch?v=I2njMBxlnmM

These performances are all amazing anyway, but the real question is:  These days live recordings shit all over the recorded versions. When and how did live recording get so good? 

Is the gear or is it the engineer?  From my point of view there's no reason why these should sound so fantastic, I'd much rather listen to these than the records.  Was a time that it was always the other way round, apart from a few classic live records.



jake thunder

I guess it's because it's cheap and easy to record everything to multitrack now as opposed to just taking the mixing desk feed like in the old days.

Plus a lot of these band play quietly which makes a huge difference.

buzby

Quote from: jake thunder on November 07, 2018, 08:59:08 AM
I guess it's because it's cheap and easy to record everything to multitrack now as opposed to just taking the mixing desk feed like in the old days.

Plus a lot of these band play quietly which makes a huge difference.
Most professionally recorded live albums from the 1970 onwards were recorded on mobile multitrack studios too (the Stones were one of the first to build one, and it was used by lots of other bands, nearly being destroyed by the Montreux Casino fire while recording Deep Purple's Machine Head). It's the reason in a lot of old concert films you see two or three microphones taped together on each mic stand - one was for the venue mixing desk and the other was for the mobile multitrack that was recording it to be mixed for the film soundtrack and/or accompanying live album (that would usually have any mistakes or additional instrument or vocal tracks overdubbed later).

The videos in thraxx's post are live PAs from KEXP's 'live room' studio (basically the same as Radio 1's Live Lounge), which are being broadcast and streamed live. It's unlikely that they are going to the trouble of recording a bands' live PA to multitrack and mixing them afterwards to put up on youtube. - it will be the audio as broadcast coming through the desk that's been recorded, albeit with a fair amount of sound checking and rehearsals to get it right before the broadcast.

Here's KEXP's Live Room 'desk' - a pair of Avid A6 control surfaces that are part of an Avid VENUE DAW PA system (which includes a Pro Tools setup for recording and playback)

Although they are a nonprofit NPR station, being in Seattle means they benefit from having Paul Allen as a benefactor, and his donations and Microsoft's technical assistance helped get them this state-of-the-art setup.

chveik


thraxx

Quote from: buzby on November 07, 2018, 11:17:11 AM
Most professionally recorded live albums from the 1970 onwards were recorded on mobile multitrack studios too (the Stones were one of the first to build one, and it was used by lots of other bands, nearly being destroyed by the Montreux Casino fire while recording Deep Purple's Machine Head). It's the reason in a lot of old concert films you see two or three microphones taped together on each mic stand - one was for the venue mixing desk and the other was for the mobile multitrack that was recording it to be mixed for the film soundtrack and/or accompanying live album (that would usually have any mistakes or additional instrument or vocal tracks overdubbed later).

The videos in thraxx's post are live PAs from KEXP's 'live room' studio (basically the same as Radio 1's Live Lounge), which are being broadcast and streamed live. It's unlikely that they are going to the trouble of recording a bands' live PA to multitrack and mixing them afterwards to put up on youtube. - it will be the audio as broadcast coming through the desk that's been recorded, albeit with a fair amount of sound checking and rehearsals to get it right before the broadcast.

Here's KEXP's Live Room 'desk' - a pair of Avid A6 control surfaces that are part of an Avid VENUE DAW PA system (which includes a Pro Tools setup for recording and playback)

Although they are a nonprofit NPR station, being in Seattle means they benefit from having Paul Allen as a benefactor, and his donations and Microsoft's technical assistance helped get them this state-of-the-art setup.

I was wondering/hoping that buzby would know. One of the most bestest posters on here.

Dead Can Dance- Host of the Seraphim. Camden Roundhouse 2012


https://www.youtube.com/watch?v=Y8EbcG9Ertg


Imagine having that kind of vocal control. I can barely sing a fucking note.

Dannyhood91


Twit 2

Quote from: Nice Relaxing Poo on November 09, 2018, 12:25:33 PM
Dead Can Dance- Host of the Seraphim. Camden Roundhouse 2012


https://www.youtube.com/watch?v=Y8EbcG9Ertg


Imagine having that kind of vocal control. I can barely sing a fucking note.

CHECK OUT THE BULGARIAN WOMEN'S CHOIR

Brundle-Fly

Quote from: Dannyhood91 on November 09, 2018, 03:14:14 PM
De La Soul live in 1989

I saw them live in 1989 at the Top Rank, Brighton and they were indeed, fantastic. Mind you, every time I got back from the bogs somebody new was hitting on my girlfriend. My first rap gig was a very different experience to what I was used to as a concert goer. Cardiacs it was not.


Maurice Yeatman

Quote from: Dannyhood91 on November 09, 2018, 03:14:14 PM
The most sexy thing

https://www.youtube.com/watch?v=-WYYlRArn3g

Prince fan, and that was no doubt a thrill to see if you were there... but it doesn't do it for me. This isn't just hindsight, but I wish he'd done less of this grandstanding in his later years, and dropped the coy masquerade in interviews.

a duncandisorderly

Quote from: thraxx on November 06, 2018, 08:12:10 PM
These performances are all amazing anyway, but the real question is:  These days live recordings shit all over the recorded versions. When and how did live recording get so good? 

Is the gear or is it the engineer?  From my point of view there's no reason why these should sound so fantastic, I'd much rather listen to these than the records.  Was a time that it was always the other way round, apart from a few classic live records.

it's not just about how it's recorded, it's also the fact of it being a live performance. in fact, I'd say that this was more significant of a factor.... 

with the band all playing together, & without the dozens or hundreds of repairs, overdubs & other tweaks that happen in the multitrack domain, whether tape or file based.... add in to this the fact that having worked up an arrangement of a song in rehearsals, then recorded/fixed-up/repaired/mixed the studio version, a band will often give you a more confident, relaxed & let's-have-fun version of a song when they next play it live.

this has certainly been my experience. I'm pretty sure I've even been told "save that flashy [bass] part for when you're doing it live, just play the basics.." on the basis that what goes onto the record is there to support the song, while what you do on stage is for the entertainment of a live audience.

DrGreggles

Quote from: Dannyhood91 on November 09, 2018, 03:14:14 PM
The most sexy thing

https://www.youtube.com/watch?v=-WYYlRArn3g

That was amazing. Best HT show by a bloody mile.

I was watching that SB with a non Prince fan.
The following day he was in Fopp buying his greatest hits and has now been fully converted.

Golden E. Pump

Yeah, they'll never beat that half time show.

It's not even a particularly great performance from Prince though. Check this out:

Motherless Child

MuteBanana

Pavarotti and Skin from Skunk Anansie. Remember Pav selected her to sing at this event. He chose her.

https://www.youtube.com/watch?v=1QECdNOTeOs

Bennett Brauer

Isaac Hayes on Letterman with a version of Theme from Shaft that's pretty faithful to the original but still brilliant. https://www.youtube.com/watch?v=BiNwGHHHuMI

Features Skip Pitts, guitarist on the studio version.

chveik

Kyungso Park - The Distance at which I Can Hear Your Breath (traditional korean music)
https://www.youtube.com/watch?v=6ucEoORNf5A


sardines

Surprised this hasn't been mentioned before.
Scott Walker performing live on Jools Holland in front of an empty room with crowd noises dubbed on after.
There are Jandekian levels of mystery in that two minutes. It is a performance that will one day be held up to the same level of analysis as Bowie's final album.
Warning: Contains Jools Holland


https://youtu.be/G5E1VXaCBW8

Twit 2


KGL79

My first post on this forum.
Somehow when googling I found this forum and as I took a look around I found this thread. When I read the following post I had to join.....................

Quote from: Puce Moment on December 20, 2014, 11:39:37 AM
Continuing on my live on a studio based TV show tip, I consider this to be superior to any other version of this song, including TMC's own recorded version:

https://www.youtube.com/watch?v=SuwfsS5-iM8

She looks as nervous as hell but it is the definitive version.

Also a big thanks to the person who posted the New Order "Bank Holiday" session. It was utterly epic because they were so pissed off and Bernards shambolically great performance! Even Stephen Morris was wound up yet still so on it that you could set the atomic clock by him!

A question for all the Parliament/Funkadelic peeps - has anyone found any live performances by Ruth Copeland? She was epic!

I wish that Linda Perry would perform more of her stuff instead of 'giving it away'. Even the childrens choir in this doesn't detract from an incredible performance by Linda Perry.................
https://www.youtube.com/watch?v=caCVvqbGXAM

Leonard Cohen at his best on Later With Joolz Holland...............
https://www.youtube.com/watch?v=cPkFw9diPEg

You could choose so much from Woodstock but for me it has to be Jefferson Airplane and (forgive the cliche) Joe Cocker...............
https://www.youtube.com/watch?v=Vl89g2SwMh4

https://www.youtube.com/watch?v=3s-dSoDptVc


Captain Crunch

OK, not 'astonishing' but lovely bouncy fizz to this old clip of Senseless Things on The Word:

https://www.youtube.com/watch?v=x_NMRSw9Je8

I bet at least one girl in the crowd reeked of Dewberry. 

QDRPHNC



KGL79

Joy Division on Something Else (with a bit of JCC at the start).................
https://www.youtube.com/watch?v=P1tdTS_Jr8s

John Cale performing Dying On The Vine on the OGWT................
https://www.youtube.com/watch?v=DeFYJdW3xDg


Sebastian Cobb

#297
Quote from: buzby on November 07, 2018, 11:17:11 AM
Most professionally recorded live albums from the 1970 onwards were recorded on mobile multitrack studios too (the Stones were one of the first to build one, and it was used by lots of other bands, nearly being destroyed by the Montreux Casino fire while recording Deep Purple's Machine Head). It's the reason in a lot of old concert films you see two or three microphones taped together on each mic stand - one was for the venue mixing desk and the other was for the mobile multitrack that was recording it to be mixed for the film soundtrack and/or accompanying live album (that would usually have any mistakes or additional instrument or vocal tracks overdubbed later).

The videos in thraxx's post are live PAs from KEXP's 'live room' studio (basically the same as Radio 1's Live Lounge), which are being broadcast and streamed live. It's unlikely that they are going to the trouble of recording a bands' live PA to multitrack and mixing them afterwards to put up on youtube. - it will be the audio as broadcast coming through the desk that's been recorded, albeit with a fair amount of sound checking and rehearsals to get it right before the broadcast.

Here's KEXP's Live Room 'desk' - a pair of Avid A6 control surfaces that are part of an Avid VENUE DAW PA system (which includes a Pro Tools setup for recording and playback)

Although they are a nonprofit NPR station, being in Seattle means they benefit from having Paul Allen as a benefactor, and his donations and Microsoft's technical assistance helped get them this state-of-the-art setup.

To add to this, modern digital desks are really clever and will allow you to offset your 'in-house' mix to a 'recording' mix and dump it onto a USB stick or mp3, along with the multitrack, of course.

My old man always claimed those taped-together mics on Beefheart recordings was for feedback reduction (the second mic being a few inches back and wired out of phase) but further googling suggests that it was generally just easier to use multiple mics rather than mic snakes/splitters back then.

buzby

Quote from: Sebastian Cobb on December 15, 2018, 06:05:20 PM
My old man always claimed those taped-together mics on Beefheart recordings was for feedback reduction (the second mic being a few inches back and wired out of phase) but further googling suggests that it was generally just easier to use multiple mics rather than mic snakes/splitters back then.

The antiphase mics to reduce feedback was used by the Grateful Dead with their massive PA system (as they had no onstage monitors, so thousands of watts of PA was blasting past the microphones). It doesn't really work in practice though, as the second mic is always going to pick up some of the original sound, so when both mics are mixed together it cancels out some of the original sound as well (in the GD's case, it led to everything sounding a bit thin).

One notable early exception to having mics taped together for simultaneous PA and multitrack recording was Woodstock, where Bill Hanley used mic splitters to feed the PA mic signals to the 2 Scully 8-track machines in the mobile truck behind the stage.

KGL79

What's not to love about Radiohead covering Joy Division/New Order................
https://www.youtube.com/watch?v=rF9xO2Tpwzs