Brubeck's 'Time Out' listeners

Ben, thanks for responding. While I appreciate a good fart joke, and do feel this hobby can push you into utter absurdity, I would like to go through this with another member of the forum.

Anyway, the particular spot begins in Track 3, 'Take Five,' @ 2:37 and through 4:20 when Desmond reenters the mix. My 2:37 mark in the recording begins with the other players pulling back and Morello entering with a drum roll up followed by a hard thwak. Ever so slightly later, from the just right of center position, there's a reflection. Right where Wright is playing. This effect continues for minutes, to varing degrees, with a final pronounced reflection @ 4:18 just before Desmond reenters.

If this is what I think it is, then I find it amazing. While it is a reflection of *some* sort, to have it come of the bass is significant to me. For I have grown up in a family of muscians, have many as friends, and frankly, when I listen to them live, I find there to be so many secondary acoustic effects that it can be a bit much to listen to critically; I simply become overloaded with information and must focus on a particular player to keep from being distracted. That my system could picking up a second order effect of this magnitude is amazing.

So, Ben, thanks for your thoughts. And Mbhcid, if you listen critically to this, could you tell me if it is a tape splice or something else?

Best to all (particularly to Tarsando and company for the good laugh :)

Thanks for the follow-up Wm.

Mbhcid, how do you know it's a splice @ 1:50? Not to question you, but to learn.

Thanks,

Sol, I think you got it - it's about finding a reference point to evaluate equipment performance.

Mbhcid, yep, got that. It is quite subtle, but I don't know enough about the sound implications editing process to have linked the two. Interesting, because the musicians who record at my parents house have fallen into two camps. One of the pianists will play a piece two or three times straight through and pick the best overall performance for the CD. Even if there are 'mistakes,' he feels it's the works overall tennor which conveys what he feels is most important. He loaths the idea of splicing different parts together. His approach may be contrasted against a certain Duo, who will perform a work many times, and often, just a segment of that piece many times. They then like to splice together the 'best' sub-performances into an overall work. While there are stylistic differences which emerge between the two recording styles, I've never listened critically to see if this technical approach leaves a fingerprint. So you've given me something to investigate further. Cool.

Best to all,

Bomb,

Thanks for the thoughtful listen. When one thinks about the size of a Bass, it is a hell of a reflector! This is what I think we're hearing, and while it's a minor effect, I find it amazing our playback systems can pick it up.

Take care,