Mouth Off 12.06.09
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ALL FEMALE EPISODE!!
For today’s show, the boys showcase some of the finest a cappella to come out of all-female groups across the country and across the globe!
My New Girlfriend Dave is crazy about the beauty, talent and charisma of the red-headed force from the UNCG Sapphires, the lovely Blair Baldwin.
Arrangement Spotlight Christopher can’t contain all of the superlatives when talking about the fabulous, amazing, wonderful, gorgeous, engaging, remarkable, exciting and very good arrangement of “In The Waiting Line” from the UO Divisi’s Roots.
Young and Original Nabby Parkinson’s reinterpretation “Lord, I Would Follow Thee” breathes beautiful new life into an old hymn and cements her position as a talented, original and upcoming songwriter. (And her Star Spangled Banner ain’t so bad either.)
Names You Should Know Christopher’s ongoing a cappella education bus makes a stop in San Francisco as he shares a bit about the quirky, silly, and important songs of Mary Schmary, one of the first all-female pro groups of the modern era.
Around The World In a new segment premiere, Dave tells us about the amazing ladies that make up the famed Le Mystère des Voix Bulgares from Bulgaria. Eastern Europe is where it’s at.
Album Review: Houses Kill – JMU Bluestones
The guys discuss the newest release from the JMU beauties- Christopher thinks the content’s excellence stands alone but wants more intense mixing, and Dave wants groups to fix some bass lines and use the full breadth of studio capabilities to do more than capture the live sound.
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During the criticism of the mixing, at around 48:24 and a minute later around 49:25, Chris was talking about a stripped down and “only tuned” mix and Dave mentioned rather nonchalantly that this mix was tuned. This took me a bit by surprise. Is tuning used in a capella recording production to correct mistakes? I guess what I’m hoping is that lead vocals or solo parts are not tuned in the production process, and that any mistakes made are rerecorded. Isn’t that what the art of singing is all about? I’m not saying that everyone needs perfect pitch or that tuning effects don’t have their place, but I guess I just assumed that the lead tracks in a capella recording would remain…what’s the best word…honest?
Lead tracks (and backing tracks, and even percussion to an extent) are auto-tuned all the time nowadays. Applying multi-track recording to the “art of singing” is inherently dishonest anyway, no?
Interesting perspective. I hadn’t thought of it that way. Still, though – (trying to draw a parallel, here) – guitarists tune their instruments before laying down a track. Aside from effects use, I wouldn’t expect someone like Al Di Meola to use auto-tune. You know what I mean?