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Man, you can really hear the punch-ins


JARG
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Makes sense they punched in the bass solos. If he flubbed one he wouldn't have to start all over again

This^^^

Didn't they give up laying down backing tracks live in the studio, after it took 46 (or something) takes to nail LaVilla?

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What the hell is a punch-in?

 

Cool to hear the isolated bass tracks though.

Fixed.

 

Brought to you by the letter "s" :hail:

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What the hell is a punch-in?

 

Cool to hear the isolated bass track though.

 

A recording tool that allows you to fix a specific part of a track where a mistake was made without re-recording the entire track. If done correctly. it's supposed to sound seamless. In this example you'll notice a complete difference in the tone and feel of the bass solos in YYZ. It's like they went to fix them a week or two after the original track was recorded and couldn't remember the board settings or something.

 

I would think it would have been easier to set up a 2nd track entirely and start from a few measures before each solo and then blend it in once they were nailed, but what do I know?

Edited by edhunter
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On a side note, I spent a considerable amount of time as a kid listening to the cassette sitting on the bed with my Aria Pro II bass stopping and rewinding this to try to learn the song. This technology would have been awesome. Edited by Rick N. Backer
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What the hell is a punch-in?

 

Here's one scenario: Let's say you're a guitarist recording a challenging solo. Halfway through it, you flub a few notes, but up until then you'd doing great, so you keep playing until the end. You're worried that if you try to re-record the entire solo again, you won't be able to play it as well as before, but there's still the problem of those flubbed notes. A punch-in is a recording technique where just a small piece of a recording is re-recorded. So in this scenario, you play the solo again, perhaps starting a few measures before the flub, and when you get to the point where the flub is, the recording engineer hits the record button for a few seconds (however long is needed to address the flub) and then turns it off once you're on the "other side" of the flub. Nowadays, with digital recording, you can automate the punch-in process: you set where the punch-in and punch-out needs to happen and the computer takes care of the rest.

 

In the case of YYZ, the most obvious punch-ins are during the 3 bass solos. I doubt they were to cover flubs, in this case, though. I think Geddy just wanted to be able to concentrate on getting a good performance for each solo. Also, the effects during the solo might have been too challenging to trigger in real-time.

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I would think it would have been easier to set up a 2nd track entirely and start from a few measures before each solo and then blend it in once they were nailed, but what do I know?

 

Agreed. My DAW, of course, allows for punch-in recording, but I hardly ever use it. If there's a mistake that I need to fix, I record the fix on an additional track and then edit out the mistake.

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What the hell is a punch-in?

In the case of YYZ, the most obvious punch-ins are during the 3 bass solos. I doubt they were to cover flubs, in this case, though. I think Geddy just wanted to be able to concentrate on getting a good performance for each solo. Also, the effects during the solo might have been too challenging to trigger in real-time.

I get this YYZ, particularly in Geddy's 3rd solo, at the point where he switches to playing the harmonics at the end. He seems to have a hell of a time doing it in the live recordings. At one time many years ago I fooled around at playing bass, and just imagining anyone, much less Ged, try to play it blows me away. :geddy:

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In this example you'll notice a complete difference in the tone and feel of the bass solos in YYZ. It's like they went to fix them a week or two after the original track was recorded and couldn't remember the board settings or something.

 

 

You don't think the change in tone was intentional? I do.
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In this example you'll notice a complete difference in the tone and feel of the bass solos in YYZ. It's like they went to fix them a week or two after the original track was recorded and couldn't remember the board settings or something.

 

 

You don't think the change in tone was intentional? I do.

 

I do too. There's a lot of different bass tones going on in the song, so the bass track may well have been recorded in several different takes.

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In this example you'll notice a complete difference in the tone and feel of the bass solos in YYZ. It's like they went to fix them a week or two after the original track was recorded and couldn't remember the board settings or something.

 

 

You don't think the change in tone was intentional? I do.

When Terry Brown was producing Rush albums everything was intentional.
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In this example you'll notice a complete difference in the tone and feel of the bass solos in YYZ. It's like they went to fix them a week or two after the original track was recorded and couldn't remember the board settings or something.

 

 

You don't think the change in tone was intentional? I do.

When Terry Brown was producing Rush albums everything was intentional.

 

yeah, recording book 1 in the wrong key, what an intentionally genius move, eh?

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In this example you'll notice a complete difference in the tone and feel of the bass solos in YYZ. It's like they went to fix them a week or two after the original track was recorded and couldn't remember the board settings or something.

 

 

You don't think the change in tone was intentional? I do.

When Terry Brown was producing Rush albums everything was intentional.

 

yeah, recording book 1 in the wrong key, what an intentionally genius move, eh?

:LOL:

 

ETA: Wasn't that Book II?

Edited by goose
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In this example you'll notice a complete difference in the tone and feel of the bass solos in YYZ. It's like they went to fix them a week or two after the original track was recorded and couldn't remember the board settings or something.

 

 

You don't think the change in tone was intentional? I do.

When Terry Brown was producing Rush albums everything was intentional.

 

yeah, recording book 1 in the wrong key, what an intentionally genius move, eh?

:LOL:

 

ETA: Wasn't that Book II?

 

Correct. Book II was written in Eb, but Broon insisted it be recorded in F#.

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