otisMittlerweile glaube ich zu wissen, dass es sogar analog aufgenommen wurde, aber dann nicht so perfekt, wie ich es mir vorstelle.
Gibt es dafür eine Quelle? Seitdem Du angefangen hast, darüber zu spekulieren, frage ich mich das auch.
Wie man hier nachlesen kann, war Ys ein komplett analog aufgenommenes Album:
http://www.arthurmag.com/2006/12/23/nearer-the-heart-of-things-erik-davis-on-joanna-newsom-from-arthur-no-25winter-02006/
Ich zitiere mal aus dem Artikel, um zu vergegenwärtigen, was das für ein unglaublicher Aufwand war:
Another bone of contention was Newsom’s insistence on recording the orchestra to analog tape, something that has probably not been done in LA since the Rodney King riots. Newsom always wanted an all-analog project, and rehearsed the familiar arguments with Parks: analog recordings capture more information than digital [das ist natürlich Schwachsinn, nur um das klarzustellen!], and are richer and warmer-sounding to boot. Parks agreed with her, but also pointed out that analog was a pain in the ass. Newsom kept on it, though, and eventually got her way. “It was definitely difficult but a lot of the difficulties weren’t things I, um, had to personally deal with.” […]
Newsom recorded her own performance for Ys with Steve Albini, who has recorded thousands of musicians and works strictly with analog. […] Albini and Newsom met at LA’s slick Village Recording Studios, where Todd Rundgren was recording Meatloaf in the studio next door. Still, Albini had to go through five tape machines before getting one to work, and that one he had to fix himself. “It was a really embarrassing scenario,” says Albini. “Its not like we were in some cheap-shit chop shop. I’ve made records in people’s living rooms that went better from a technical standpoint.” Once he cobbled together a studio, Albini then faced the challenge of recording the harp. “It’s a quiet instrument. It doesn’t excite the room much, so you have to work close to it, but because it’s physically large you can’t just stick a mic up close to it.” Albini wound up placing four small Crown GLM mics, which are about the size of a kitchen match, along the instrument’s resonating belly. A nearby mic picked up the stereo image of Newsom playing, and a distant mic picked up the reverberant sound of the room. “It was fun,” says Albini, who enjoyed working with Newsom, a woman he describes simply as “bad ass.”
The album was mixed by another analog enthusiast, the guitarist and producer Jim O’Rourke. The mixdown took place at New York’s Sear Sound, a legendary shrine to analog recording run by Walter Sear, a Joe Meeks-like figure who once sold synths with Robert Moog. This is what Newsom told O’Rourke she wanted: “I want the vocal and harp performances to feel central and grounded and close and intimate and still, as though they are taking place in a small space very close to the listener. I want the orchestra to feel hallucinatory and constantly shifting in space and I want it to be mixed in a way that relates to the story being told and the lyrics and the mood very closely.” After slaving two 24-track machines together to accommodate all the tracks, O’Rourke did a rough mix by instinct before returning for detail work.
So es gab also zwei recording sessions, eine bei Albini für Joanna und eine für das Orchester, dann wurde das Album von O’Rourke gemixt und in den Abbey Road Studios gemastert (steht im Booklet).
Die Musik für das neue Album wurde in nicht weniger als sieben unterschiedlichen Studios von fünf unterschiedlichen Toningenieuren aufgenommen und von zwei unterschiedlichen Leuten gemixt (sechs Lieder von O’Rourke und der Rest von Noah Georgeson) und dann wiederum in den Abbey Road Studios gemastert. Wenn das komplett analog geschah, dann war das ein riesiger Aufwand in so vielen verschiedenen Studios mit Tapes zu hantieren und das Zeug durch die halbe Welt zu schicken (Ostküste, Westküste, England, Japan). Andererseits würde es ja auch keinen Sinn machen, einen Teil analog und einen Teil digital aufzunehmen, oder?
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Ohne Musik ist alles Leben ein Irrtum.