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DreamingPanther

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I was listening to some Ravi records today and started wondering ... have they adopted modern multitracking techniques when it comes to recording ICM music?

Do they ever go back and "punch in" a solo or get the best take of three on a section?

That would mean recording hours of tanpuras and other instruments by themselves for isolation... and... tablas by themselves with no sitarist interaction... the mind just boggles. Seems it would be impossible or at very least an impossibly bad idea.

Makes me wonder if they don't just "go for it" in every case?

Curious if anyone has any stories of recording the greats in the studio?

I was listening to a 45 minute track by Vilyat Kahn recently and heard at least two dog barks. If they multitracked they would surely have punched that out ha ha

Anyway, just curious...

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nicneufeld

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I don't know authoritatively but can guess that this pretty much didn't happen, maybe with a few exceptions. Records were representations of live performance. In fusion, yes, plenty of "creative" work at the mixing desk. But for traditional indian classical, or for traditional Western classical, for that matter, you did it til you did it right...again, such seems to be the case. Recording in layers via multitracking (vs all at once) seems to be much more the realm of pop music. Multitracking in general, though, I think is a fine idea to ensure a good and adjustable mix between instruments. But tabla and sitarist interaction particularly...no way you could record those seperately. Imagine recording a jazz bassist and drummer seperately, the music would have to be rigid and dead to allow that, and I think that goes even further with tabla / sitar interaction.
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Abhimonyu

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Which particular Ravi Shankar recordings are you talking about?
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DreamingPanther

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Let's see I've slept since then... I think it was something off "Music of India - Ragas and Talas." There was a little fluff where you could tell he didn't mean to hit that note and quickly stopped it and jumped to the right one. I thought "if he were multitracking he would just go back and fix that note but I guess he can't if he's got tampuras and all going on behind him. They'd never get it right"

I don't remember the Vilyat Khan track I heard with the dog bark but it was on YouTube. I had to run it back a couple of times to find it around the 4 minute mark. Just one unmistakable "woof," and another one later in the track around 20 minutes in. Again, it would have been impossible to snip it out without interrupting the flow of the recording. But really, I thought it added character to the track.

I can think of a lot worse things to end up on a recording than a dog bark.

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nicneufeld

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The occasional defect in a recording, even by a master, gives it a certain honest appeal. There is a recording of Jhinjhoti that is wonderful, by a great master, that includes a tiny little tivra Ma at one point during a taan. It almost makes musical sense the way he plays it off, and it gives it a playful nature.
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Greg

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Quote:
Originally Posted by "DreamingPanther"
Makes me wonder if they don't just "go for it" in every case?
I can't imagine it being any other way...

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Greg

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here we go, just one take...

http://forums.chandrakantha.com/viewtopic.php?f=2&t=11834

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