Latest member - David Bendeth

Although deep in my heart, even with all of you there helping me, there would always have been some SOB whining about something.

Yes, despite all your work on the music I just couldn't bring myself to buy it as I found the artwork so poorly done.

And I also understand that the "pop" on Hound dog wasn't in mono but binaural.

Oh yeah, I'm afraid Curtis does that with the "you are not here" approach, but you'll get used to it. At least you understood him, which is more than most of us have managed so far.

Thanks for the info Steve, I have been practicing my binaural pops and I think I am finally popping. Just think if there was no POP how boring this would all be. BTW, I know of many people that do not have the pop on their version of the CD, It seems there was selective popping at the plant. I do have a popless version, with the crappy artwork. I also hear Sweden got many popless versions, check it out, collectors item, the Swedish popless E1

Although deep in my heart, even with all of you there helping me, there would always have been some SOB whining about something.

Yes, despite all your work on the music I just couldn't bring myself to buy it as I found the artwork so poorly done.

And I also understand that the "pop" on Hound dog wasn't in mono but binaural.

Oh yeah, I'm afraid Curtis does that with the "you are not here" approach, but you'll get used to it. At least you understood him, which is more than most of us have managed so far.

Welcome to our world!

Welcome to our world!

Welcome to this MB

David, now I know why Elvis did so many takes of the song before he was happy. I guess he really wanted to be the father of pop music.

Now down to some nitty gritty, you gotta earn your FECC stripes now you're here.

I am aware that a couple of Scotsman who gate crashed a NYC party a while back may have managed to get a copy of an unreleased 1956 alt take. How is anyones guess of course and it might all be just a rumour.

I know you're a professional guy who does his gig well and that when it comes to artists you just get on with the job in hand and don't necessarily know too much about their history in painful detail.
But, is there any info you can share about what you found on the master tapes especially from the 50's ?

ScotsmEn...

There you go Steve.

So your not a fan off this DSD that some folk on the board have been giving the OK"s to.

What in your view is wrong with that way of mastering a cd David?.

Just makes the songs loud?.

I stated many posts ago that some people prefer DSD . I will add that it is very subjective to say one format is better than the other. But when comparisons are made , they are done with 192khz NOT 96khz. Any thoughts MR. Bendeth on that? Also I think there was a marketing problem with the DVD-A disc since no where in sight is it labeled 96khz. There has been lots of confusion with DVD-A because there have been MANY releases with just the Dolby 5.1 or DTS 5.1 and you must know that has LOSSY compression in the surrounds and 44.1 0r 48khz on the front stereo channels. So is the Elvis release on DVD-A have high resolution 96khz on all channels? Thanks.

So David, were you able to learn if FTD or Sony BMG have any "suprise" releases in store for us in the near future?

Oh, excuse my manners, welcome aboard

Layng loves to write songs, not only that, he is a wonderful and sweet man. I tracked him down after we made the record and he came to see me in New York in my office at BMG. We really struck a friendship. he was an artist, I related. He presented me with a cassette of the Demo he made for way down in cassette form. It was awesome.
Well it seems Layng had a funny habit, every time he wrote a song a demoed it he would bark like a dog for fun at the end of the song, it was like a way of him being excited about what he had done. He sang the demoes and barked, on every song he wrote.
So Elvis gets his demo and at the end hears the barking and thought it was hilarious. When it came time for Elvis to do the song he imitated Layng by barking. When we heard thr master we thought it was nuts, why was Elvis barking? Well I guess Elvis wanted to follow the demo to a tee, besides Elvis had a way better bark than Layng. Its on the master...crank the ending, Elvis barks..It actually goes on for a few seconds but I cut it short. So you see we have a trade off, I got an outtake wrong, but you guys got the bark. Now we have a bark and a pop. I love the pop story, when you are ready we can talk about the pop.
DB

I have the original demo with the dog barking at the end. Layng ended every demo he wrote with him barking.
Layng Martine Jr gave me the demo himself of his version and the Elvis demo. Elvis immitated the dog at the end of his track just like Layng.

quote]

???

Please tell us more David. This sounds bizarre.

DB -

You wrote:

Its on the master...crank the ending, Elvis barks..It actually goes on for a few seconds but I cut it short.

Well, I for one want to hear the complete thing !

First of all no one gate crashed a party. I invited them. I came to this chat and everyone thought I was a liar when I told them I was the producer of E1. Ian did not, I sent him a CD of the test mixes the next day by fedex to Scotland. We made friends, as I did with Will. They stayed at my house, I welcomed them, they were real fans. They attended sessions yes where they heard many 50's outakes. No one left the studio with anything. RCA owns it all, have for years. There were lots of things found, lots of out takes. Some of the vocals were pitchy, words wrong stuff like that. It was obvious Elvis was a perfectionist, he sang it until it was right, pretty amazing.

David, now I know why Elvis did so many takes of the song before he was happy. I guess he really wanted to be the father of pop music.

Now down to some nitty gritty, you gotta earn your FECC stripes now you're here.

I am aware that a couple of Scotsman who gate crashed a NYC party a while back may have managed to get a copy of an unreleased 1956 alt take. How is anyones guess of course and it might all be just a rumour.

I know you're a professional guy who does his gig well and that when it comes to artists you just get on with the job in hand and don't necessarily know too much about their history in painful detail.
But, is there any info you can share about what you found on the master tapes especially from the 50's ?

Welcome aboard, David!

Now, I guess you've had this discussion before, but could you tell us a little bit more about the choices that were made regarding the song selection for the TTWII SE DVD, and also why certain rehearsals were chosen ahead of others?

Was it strictly a matter of quality on the tapes you guys had to your disposal to work with, or did personal taste have a major influence on the final result?

What did you have in mind when you started on the project, and did it turn out the way you thought it would be?

Also, I understand that you wanted to include more songs, but due to the copyright problems, some performances had to be axed.

How did you feel about this?

Br
Kristian

Last edited by Kristian Hjelmaas on Thu Nov 03, 2005 5:35 pm, edited 1 time in total.

have no idea what BMG are doing with Elvis. I have no idea if they have any surprises.I have nothing to do with that end of the business in my work. They always seem to pull some rabbit out of a hat. I think E1 AND E2 created some more bunnies, dont you?

So David, were you able to learn if FTD or Sony
BMG have any "suprise" releases in store for us in the near future?

Oh, excuse my manners, welcome aboard

DB -

You wrote:

Its on the master...crank the ending, Elvis barks..It actually goes on for a few seconds but I cut it short.

Well, I for one want to hear the complete thing !

Exactly. And Mr. Bendeth will regret he ever said that. Desperate Elvis nuts all over the world are now going to terrorize him for years. You think they will forgive you for not including the extended barking version of "Way Down" on "E1", David? No way. Forget it!

Keith Richards, Jr.

Mastering like mixing is an interesting world. I doubt most people on this board know the difference.Most are consumers, why should they? Everyone is looking for the perfect sound, the perfect take, the perfect CD as a body of work. There is no such thing.
Matering is the final stage of mixing. It has become very competitive. CD'S have to be loud, I am not sure why, I think it comes from radio, Songs need to pop out of the speakers. Compressors at radio dont touch the song if it is already compressed hard, becomes moot.
So what is wrong with this? Well, not all songs benefit from being loud, some sound great the way they are, records need continuity, hence the overall treatment in the final stage. With Rock music, every record today is "brick walled" Its the industry standard. I think its pretty funny considering most people today that listen to music listen to crappy mp3's on an ipod anyways. Mastering like mixing is about taste. Some mastering guys have bad days just like mixers. E1 was loud, not my call. Do I like it? Not every song benefits, BUT...It opened up a generation to at least listen, to bring some familiarity to the sound. It worked. The mixes we did sounded great to me before they were mastered. The mono stuff we never touched (mixed), I think some of that worked in mastering and others sounded crushed.
DB

So your not a fan off this DSD that some folk on the board have been giving the OK"s to.

What in your view is wrong with that way of mastering a cd David?.

Just makes the songs loud?.

I only worked on E1 cd and DVD, I know nothing of other releases. I never picked the material for E1, That was a committee between the USA and the UK,

Welcome aboard, David!

Now, I guess you've had this discussion before, but could you tell us a little bit more about the choices that were made regarding the song selection for the TTWII SE DVD, and also why certain rehearsals were chosen ahead of others?

Was it strictly a matter of quality on the tapes you guys had to your disposal to work with, or did personal taste have a major influence on the final result?

What did you have in mind when you started on the project, and did it turn out the way you thought it would be?

Also, I understand that you wanted to include more songs, but due to the copyright problems, some performances had to be axed.

How did you feel about this?

Br
Kristian

This kid here listened to E1. Result: EP fan for life.

I remember Ian Ledgerwood / Hawk talking fondly about you (i.e. "The box sets you asked about are of a very good standard, not up to Davids standard mind ya, but hey who is.") and rounding up people to support your work.

Well, my hunch was right, and it was the "real" David Bandeth!
Welcome (back), David. I came aboard here when E1 was the rage
and probably just missed your postings. It took me awhile to catch
up with the audiophiles/ fanatics were were posting everyday about
"the pop," etc.

All told, I think such passions have cooled to the degree where people
can discuss these releases and hear your stories.

I have a few questions, if you don't mind -and I write someone who normally defends E1 and E2. (I found each to be great gifts to new
or would-be fans among my family and friends for a time.)

I was wondering why you (?) went with that noisy (and mono) "Love Me Tender" when the superior stereo version was available on things like
"Heart and Soul" ?

I'd love to have heard those '50s outtakes...and the full bark version
of "Way Down"!

Last edited by Gregory Nolan Jr. on Thu Nov 03, 2005 5:52 pm, edited 2 times in total.

OK...

Thank you for your answer.

Bring back "BOPPIN" BOB JONES....

E1 DVD has high res on all channels. You need the right system for payback. I still hate DSD. I thought the E1 DVD was very hard to understand without the menu, I was confused myself. You just never knew what you were getting. It was ground breaking, BUT, there were no experts on the back end on that one. Its a shame it could have been a great piece, there was also no footage, I thought that was weird too.

I stated many posts ago that some people prefer DSD . I will add that it is very subjective to say one format is better than the other. But when comparisons are made , they are done with 192khz NOT 96khz. Any thoughts MR. Bendeth on that? Also I think there was a marketing problem with the DVD-A disc since no where in sight is it labeled 96khz. There has been lots of confusion with DVD-A because there have been MANY releases with just the Dolby 5.1 or DTS 5.1 and you must know that has LOSSY compression in the surrounds and 44.1 0r 48khz on the front stereo channels. So is the Elvis release on DVD-A have high resolution 96khz on all channels? Thanks.

Hey Keith get off the hard drugs, the dog bark is full length on the DVD, I think......

DB -

You wrote:

Its on the master...crank the ending, Elvis barks..It actually goes on for a few seconds but I cut it short.

Well, I for one want to hear the complete thing !

Exactly. And Mr. Bendeth will regret he ever said that. Desperate Elvis nuts all over the world are now going to terrorize him for years. You think they will forgive you for not including the extended barking version of "Way Down" on "E1", David? No way. Forget it!

Keith Richards, Jr.

By the way, David, thanks for the reminder on the difference between mixing
(what you did) and mastering. A lot of the complaints here about the
"hot" / "loud" sound is often tied to you, apparently unfairly.

And you're right: lots of people are walking around with crappy i-Pods
and blasting their music in their SUV's (in the USA, anyway.)
And they would call themselves "music lovers"...


Brad/ Elvis Fan and others here will surely disagree about DSD.
I'm agnostic at this point.

By the way, I loved your fresh mixes BURNING LOVE and IN THE GHETTO, as
a change of pace, although some said you "rolled off the bass" on
the former....?

And some of the same era on E2 sounded like you had done it.
I guess not.

Last edited by Gregory Nolan Jr. on Thu Nov 03, 2005 5:57 pm, edited 2 times in total.

ipod kills good music.

Just a view.

Last edited by iamhekev on Thu Nov 03, 2005 7:20 pm, edited 1 time in total.

Hey Gregory, its Bendeth... There is no need to defend E1 and E2, the people that dont care for it have good reasons. I persinally hate brussel sprouts and I certainly would not try to make anyone else eat them.
We went with the mono version for continuity. Remember the record started in mono..then went to the three track years. No reason to get clever, we wanted continuity, besides I thought noise was very true to the recording and had become part of the song. I like records with mistakes, after all humans made them not machines. It always amazes me that you can get 20 people to listen to 20 versions of the same song and each one will usually have a different opinion about the perfomance and sound. BUT, that is the great thing about music, different strokes. Imagine if all people had the same hair colour? It would be a boring world, problem is when people start to force their opinions on you, bad idea.

Well, my hunch was right, and it was the "real" David Bandeth!
Welcome (back), David. I came aboard here when E1 was the rage
and probably just missed your postings. It took me awhile to catch
up with the audiophiles/ fanatics were were posting everyday about
"the pop," etc.

All told, I think such passions have cooled to the degree where people
can discuss these releases and hear your stories.

I have a few questions, if you don't mind -and I write someone who normally defends E1 and E2. (I found each to be great gifts to new
or would-be fans among my family and friends for a time.)

I was wondering why you (?) went with that noisy (and mono) "Love Me Tender" when the superior stereo version was available on things like
"Heart and Soul" ?

I'd love to have heard those '50s outtakes...and the full bark version
of "Way Down"!