In this class we’ll teach you some of the best recording and mixing techniques used to get professional sounding acoustic guitar and vocal productions. You’ll have access to the raw tracks of the song used in the class, so you can start putting everything you learn into practice right away.
The Best Of The Beatles Vol.2 was released by Dixie Live in 1992 in the Italy. The album contains only live performances by The Beatles.
What a wonderful surprise! Even fans of Placido Domingo, who has recorded the role of Radames four times commercially will be amazed by his fresh voice and complete involvement, under Claudio Abbado's thoroughly engrossing leadership in this live 1972 performance, in very good sound. Martina Arroyo was an underrated Aida, and Fiorenza Cossotto spews rage as the jealous Amneris. Piero Cappuccilli gives us an Amonasro to fear and respect, and Nicolai Ghiaurov, is, as always, the perfect low voice in the ensembles. The La Scala forces are terrific. Dare I say it? This is the best-performed Aida.
Since most (if not all) of the master tapes from legit Impulse! recording sessions have been released, the label continued on with a "digging in the crates" approach to expanding their John Coltrane catalog. Subsequently, they came across this recording that 'Trane arranged to record without the assistance (or interference) of Impulse!. Olatunji Concert: The Last Live Recording documents a live performance on April 23, 1967, one of the last times Coltrane would appear on stage, as he passed three months later. Strictly as a document, this is a rich and telling recording. It demonstrates his sonic blast free jazz direction that was becoming more aggressive and out of bounds; It portrays what could have been one of the most dynamically stellar groups of the mid-1960s avant jazz scene with Pharoah Sanders (who, in some ways, steals the show), Alice Coltrane, Rashied Ali, and Jimmy Garrison totally ripping it up; it also gives the average collector a taste of what the maniacal collector goes out of their way to find, as the sound quality is on the level of a sub-par bootleg. Don't expect to hear Bob Theil's warm production or one of Rudy Van Gelder's pristine live recordings á la Live at the Village Vanguard. Instead the equalization is uneven, and there are some parts where the tape drops out. Besides that though, this is essential for seasoned Coltrane listeners.
If any soprano is custom-built for the role of Floria Tosca, it is Maria Meneghini Callas. From her first entrance at Manhattan's Metropolitan Opera last week, she made the Puccini heroine a creature of fierce temperament; hers was a believable embodiment of a jealous beauty who was willing to make the supreme sacrifice for her lover, and who carves up a would-be seducer with a fruit knife. In addition to her flawless acting, Callas was in full command of her remarkable voice—never luscious, but potent as TNT.
The subject of many poor quality bootlegs, this concert - one of only a handful undertaken by Fripp & Eno - is routinely described as ‘legendary’. Hearing the tapes in fully restored audio quality, it's easy to understand why it attracts such reverence now and perhaps, why the shows attracted such hostility then. No Roxy Music hits, No King Crimson riffs, just a duo sitting in near darkness with a reel to reel tape recorder, improvising over the pre-recorded loops with a filmed background projection. Replace the reel to reel machine with a couple of laptops/iPads/sequencers and the core of much current live performance from electronica to hip-hop was there some thirty years in advance. At the time, audiences responded to such a glimpse of the future with booing, walkouts and general confusion.