Sunday, January 14, 2007
Sunday morning gospel--Smith's Sacred Singers, William McEwan, Tietge Sisters, Chautauqua Preachers' Quartet
All of these are from my collection, and all of the restoring was done by me. At (by?) this point, I pretty much have a handle on double-EQing. That is, I equalize things first on my 31-band equalizer and then re-EQ them on MAGIX--though as little as possible. If I overdo the second phase, the results can be pretty crummy.
Anyway, I'm pleased with these restorations. I always focus on the sound beneath the hiss rather than the hiss itself--if you bring the music "out," you can get away with doing considerably less hiss/noise filtering. Surface noise isn't the end of the world unless it's drowning out the music, and so it's best (Leethinks, anyway) to push the good sound forward and THEN worry about killing the scritch and hiss and foosh. A lot of it involves dynamic balance. Lee says, don't "think" with the hiss and noise filters; focus on restoring the sound within.
Let us pray....
Sorry. Didn't mean to sermonize. Anyhow, today's selections run the date gamut (date gamut?) from 1913 to 1929. 1925, of course, was the year that electrical recordings came into being (commercially, anyway), so the reason pre-1925 recordings sound as if they were recorded with a big horn is because they were.
Note, on the William McEwan selection (All Hail, Emmanuel, by Charles H. Gabriel), how the chimes are right there, sonically, while William (who obviously had a powerful voice) is way on the other side of the room someplace. I like the effect, but I'm not sure William did.
All Hail, Emmanuel (Charles H. Gabriel)--William McEwan, with organ accompaniment, 1913. From Columbia 78. (Gabriel wrote the music--and, in some cases, the words--for Will the Circle Be Unbroken, Higher Ground, The Glory Song, and His Eye Is on the Sparrow.)
Meet Me There--Smith's Sacred Singers, 1929. From Columbia 78.
Hold the Fort (P.P. Bliss)--Chautauqua Preachers' Quartette, 1914. From Columbia 78. (The surface is a lot quieter than it was--declicking software is the best thing that ever happened to shellac. Gorgeous song, by the way. And performance.)
Working for the Crown--Smith's Sacred Singers, 1929. From Columbia 78. (Yet another "I'm going to Heaven" gospel number. The metaphor in the title works at least two ways--living according to the rules of faith, on one hand, and striving toward Heaven, on the other. Same difference, in this case.)
The Name of Jesus (W.C. Martin--E.S. Lorenz)--Tietge Sisters, 1927. From Victor 78. (The style of the T. Sisters' excellent harmonizing was already familiar to me, but through much later gospel recordings. I had no idea this type of singing went back this far. But I do now.)
Hold to God's Unchanging Hand--Smith's Sacred Singers, 1929. (I featured this a while back at my now-gone Fields on Fire blog, but this is a new and better EQ. It'd better be better, after all the time I spent on it!)
When we talk about old-time gospel at this blog, we mean old-time gospel!
Have a great Sunday.