Digitale Einspielungen von Elvis?

Das mit der digitalen Aufzeichnung,ging erst Anfang der achtziger Jahre in den Studios so richtig los.
Was da in den siebzigern ablief,waren mehr oder weniger "Experimente"die aber logischerweiser (noch)nicht professionell realisiert werden konnten.
Viele Techniker schwören übrigens auch heute noch auf die analoge Aufzeichnung und halten diese,meist auch zu recht für die bessere (digital=steriler Sound)

Zu dem kabellosen Mikro das Elvis 1970!! mal kurz benutzt hat,muss man sagen,das die Batterien damals
eben nicht lange genug durchhielten und der Klang dieser Mikes war wohl auch nicht gerade der Riss.

Das Elvis neuen Aufnahmetechniken nicht mit "offenen Armen" entgegensah,möchte ich stark bezweifeln.
So wählte er z.b. sein Gesangsmikro immer sorgfältig aus.Außerdem äußerte er sich schon 1970 darüber:"Das sich der Sound in den letzten Jahren stark verbessert hat".
Das einzige was er nicht mochte war die Tatsache das er auf ein bereits eingespieltes Band der Musiker
draufsingen konnte/sollte.Das mochte er nicht und das war auch gut so

Lieber Coolozz,

welches Mikro hat Elvis eigentlich benutzt? Sennheiser? Hat er da denn mal gewechselt und ist (zumindest bei Modellwechseln) mit der Zeit gegangen?

P. S. Ich frage das übrigens deshalb, damit ich mir auch so eines kaufen kann, falls Du mich in Hamburg mal wieder filmen willst... )

Lieber Hunk@

welches Objektiv würde ich denn da brauchen...?

Elvis benutzte durchweg teure Mikros und ging da logischerweise auch mit der Zeit.
Am meisten benutzte er Mikes,der Marke Electro-voice - die Modelle der RE Serie 10-15
sieht man bei Elvis häufiger.Bei ebay kann man hin und wieder mal eins ersteigern.

Das geilste Mike das er Live 76/77 benutzt hat (Electro-Voice cs-15)mit dem
gei..tollen Basseffekt,findet man leider nicht mehr so einfach.Das suche ich nähmlich
selber schon ne Ewigkeit

Übrigens werden all diese Typen immer noch sehr häufig im Studio eingesetzt,vor allem mit dem
cs-15 wird noch viel gearbeitet.Also war Elvis eigentlich seiner Zeit,auch hier mal wieder vorraus


Hatte ich zwar schonmal gepostet aber weils hier so schön passt:



NASHVILLE SKYLINE

Dan Daley

Mix, Nov 1, 2000 Brought to you by:

Waiting For Elvis - something very special and unique this
month. I got a call from Tony Brown, MCA Records chief and one
of Nashville's and country's most illustrious producer (and a
TEC Award nominee again this year). Before Brown achieved all
of the above positions, he was the piano player in a band that
backed a small-time lounge singer named Elvis Presley. It
seems that Elvis was booked for a session in Nashville, at
Creative Workshop Studios in 1976, and not
uncharacteristically, The King never showed up. The assem-bled
band, including Brown, James Burton, Ronnie Tutt, David Briggs
and background singers the Sweet Inspirations, showed up night
after night, learning songs and waiting for Elvis, who was
holed up in the Sheraton Hotel on Harding Place, where the
staff had walled off the entire top floor for him and his
entourage. Elvis, however, kept finding excuses not to make it
to the sessions, the main one of which was the inability to
find a particular microphone he wanted, an EV RE-15.
One was finally located, at Quad Studios, and brought over. On
the fourth night, the band assembled once again and began
running down a song in preparation for Presley's arrival after
a call telling them that Elvis has left the hotel and was on
his way. Then another phone call: The King had indeed left the
building, and he just kept on going, all the way to the
airport and on to Memphis and Graceland.
Joe Gregg was then the studio manager at Quad and something of
a legend himself in the Nashville music industry as a
publisher for Warner Bros. Music. He decided that the entire
episode needed to be memorialized somehow and penned a poem.
While it's not "Paradise Lost," it managed to capture a moment
in Nashville's history with a sense of the playfulness and
inventiveness. And it's perhaps the only piece of literature
in poetic history told from the perspective of a microphone.
Tony faxed over a copy of the poem, still on the Creative
Workshop stationery it was written on, from a scan done by
steel player and photographer Hank DeVito. It had been framed
on the wall at Quad until the studio was sold the first time
in 1980. So, here it is, for the first time in print. (English
majors note: Annotations follow, and the spelling and
punctuation are original...to say the least.)
A POEM BY IRVIN EV I was born, as you can see, a simple-minded
RE-15
And as I rolled down that old assembly line
Visions of grandeur flowed thru my mind.
Ronstadt, James Taylor, a group called Orleans
Or with a little luck, maybe even the "King".
But where have I been for the last several years?
In a hot, sweaty bass drum stuffed up to my ears
With pillows and blankets and all kinds of crap.
I've been thumped to and fro and sometimes slapped!
But the other night a glimmer of hope I could see
As a hot, sweaty hand plucked me free And out of Quad and to
the Work shop I flew
With whispers of "it's goin' to be Elvis and you"
My elements quivered, my windscreen fluttered
If I could speak, I would surely have stuttered.
So up on a new shiny stand I arose, ready to rock, ready to
roll.
But for four lonely days, and four lonely nights
I didn't do shit and got extremely up tight
So take me back to Quad, my dear old home
And bring on Londin, Buttrey, Carrigan and Malone
And to hell with those stars, singers and clowns
`Cause I'll still be thumpin' when they're not around.
Annotations: Title: "Irvin" is the nickname given to the EV
microphone.
Line 4: Refers to the new wave of country-rock artists which
clustered around Norbert Putnam and David Briggs' Quad
Recording in the 1970s, providing a somewhat more fresh-faced
counterbalance to the Outlaw movement of Willie Nelson and
Waylon Jennings a block away on Music Row.
Lines 4 and 5: In country music, "Orleans" and "King" are
considered a valid rhyme.
Line 21: Refers to the main session drummers in Nashville at
the time: Larry Londin, Kenny Buttrey, Jerry Carrigan and
Kenny Malone.
Line 23: As far as we know, the microphone did indeed outlive
Elvis Presley.

Cooler Poem!

I didn't do shit and got extremely up tight