RecPit

There are a number of songs that were apparently originally envisioned by the producer/ band/ artist to end with a fade-out but the people involved, upon playing back the finished track, decided not to fad-out completely.



I can think of a few examples, and maybe you guys can come up with some more.

Sly and the Family Stone "Sing a Simple Song"

Almost, but not quite:

Rolling Stones "stray Cat Blues"

Todd Rundgren "Hello, It's Me

I never got the hatred for fade-outs. Yeah, it can be a lazy cop out for those who can't write an ending, but some times it just fits on the album. Fade-ins can be cool too.

For me, a fade out is properly used when you want to end the statement you're making with an ellipsis, whereas ending the song with... well, an ending note/chord would be like ending your statement with a period. That's at least how I've always seen things.

I think "I Want You (She's So Heavy)" by the Beatles was supposed to be a fadeout? Either way, I love how it just stops in the middle of that repeating progression.

unitymusic wrote: ↑December 20th, 2017, 9:32 pm I think "I Want You (She's So Heavy)" by the Beatles was supposed to be a fadeout? Either way, I love how it just stops in the middle of that repeating progression.

I love the tension that creates. Then the intro to 'Here comes the sun' blows the fucking universe to pieces. Pure genius.

I also dig all of the Zappa albums cut so one song translates into another with no gap, or a "musical" gap.

The fade out was an integral part of the loudness wars on vinyl. Level on a 45 drops like a rock at 3 minutes.

Bob Olhsson wrote: ↑December 22nd, 2017, 1:30 am The fade out was an integral part of the loudness wars on vinyl. Level on a 45 drops like a rock at 3 minutes.

That makes sense. The stylus/ cartridge "sees" the groove going by a lot slower and not able to deliver.

I think it is also sometimes an aesthetic decision, some songs seem to lend themselves better to a fade-out than others. There are albums that have both.

The Beatles 1st Lp (mono) record with Parlophone had songs ranging from 1:49 to 2:54. This would allow any of them to be released as (45 rpm) singles while being competitively loud, I suppose.

Interesting. Perhaps it was the reason that songs tended to be that length originally, but no doubt that people get used to a format. Anything outside that would sound wrong.

Let's not forget that anything over 3:00 wasn't likely to get played on the radio. Program directors frowned on that kind of thing.

hrasco wrote: ↑July 4th, 2018, 3:16 pm Let's not forget that anything over 3:00 wasn't likely to get played on the radio. Program directors frowned on that kind of thing.

True. But during the late '60s and early '70s, spearheaded by Hey Jude, a 7 minute song with the mother of all fade-outs and the advent of the Album Oriented Rock (AOR) radio format, there were a lot of longer tracks.

I think top 40 probably still kept tracks to about 3 minutes with Hey Jude being one of the few exceptions.
I believe "Alice's Restaurant", "In a Gadda da Vida" and "American Pie" (the Don McLean one) also charted (I don't have time to look up the specifics right now). All were long, I don't think any of the 3 had a fade-out ending.

hrasco wrote: ↑July 4th, 2018, 3:16 pm Let's not forget that anything over 3:00 wasn't likely to get played on the radio. Program directors frowned on that kind of thing.

Welcome, by the way

Gronk wrote: ↑December 20th, 2017, 9:45 pm

unitymusic wrote: ↑December 20th, 2017, 9:32 pm I think "I Want You (She's So Heavy)" by the Beatles was supposed to be a fadeout? Either way, I love how it just stops in the middle of that repeating progression.

I love the tension that creates. Then the intro to 'Here comes the sun' blows the fucking universe to pieces. Pure genius.

the end of I Want You is a hard cut they clearly decided would be jarring in a good way... they obviously didn't all just stop on a dime like that. But I don't think it was ever envisioned as a fade out.

and of course, they're vision was also that Here Comes The Sun started the OTHER SIDE of the album... not coming 'immediately' after I Want You.

weedywet wrote: ↑July 5th, 2018, 6:17 pm

Gronk wrote: ↑December 20th, 2017, 9:45 pm

unitymusic wrote: ↑December 20th, 2017, 9:32 pm I think "I Want You (She's So Heavy)" by the Beatles was supposed to be a fadeout? Either way, I love how it just stops in the middle of that repeating progression.

I love the tension that creates. Then the intro to 'Here comes the sun' blows the fucking universe to pieces. Pure genius.

the end of I Want You is a hard cut they clearly decided would be jarring in a good way... they obviously didn't all just stop on a dime like that. But I don't think it was ever envisioned as a fade out.

Yes I'm sure you're right, the point where that stops is so random it's hard to imagine a group of musicians making a conscious decision to all stop there together that tightly. Not that it couldn't be done, and if anyone could do it the Beatles are probably the ones that would/could, but it does sound like an edit.

Also, if I'm remembering correctly, there's a reverb tail that extends past that cut-off, at least I think. It's been a while since I heard it, and I can't listen at the moment, but if that's the case I was wondering weedy if you had any info on how they did that? Make the edit then send that through a chamber? From what I've read most of the reverb was printed on the tracks while recording, but I doubt anything was an absolute.

One last thing: There is an active Q&A with GEOFF EMERICK at GS right now!!

Great. I hope they’re asking him what preamp goes with microphones.

I don’t think there IS a reverb trail at the end of I Want You.
I remember it as a hard cut to silence.

weedywet wrote: ↑July 5th, 2018, 11:00 pm I don’t think there IS a reverb trail at the end of I Want You.
I remember it as a hard cut to silence.

I just got home and was able to listen, and you're absolutely right, there is no reverb tail - it just cuts to silence.

There is some sort of effect/tail on the "Love" version, which I guess I was thinking of.

that whole thing is an abomination

The Love album? I like it okay for what it is. Of course the original versions of all the songs are better, and the original mixes were much better.

it sounds like crap.

a classic example of "look what we can DO..." without regard to what it SOUNDS like

unitymusic wrote: ↑July 5th, 2018, 10:19 pmOne last thing: There is an active Q&A with GEOFF EMERICK at GS right now!!

I'm enjoying a few of the answers he's given so far.

(heavily paraphrasing)
inquirer: any mics of today you'd time travel back to the old days with?
Emerick: no

What’s he selling that he’s doing this now?

Looks like he's got a "masterclass" coming up. $800 to sit in for a day.

His Wikipedia-entry ends like this:
On 3 April 2007, it was announced that Emerick would be in charge of a re-recording of Sgt. Pepper's Lonely Hearts Club Band by contemporary artists, including Oasis, The Killers, Travis and Razorlight. Emerick used the original equipment to record the new versions of the songs, and the results were broadcast on BBC Radio 2 on 2 June 2007, marking the album's 40th anniversary.

Emerick now resides in Los Angeles.

upstairs wrote: ↑July 8th, 2018, 4:37 am

unitymusic wrote: ↑July 5th, 2018, 10:19 pmOne last thing: There is an active Q&A with GEOFF EMERICK at GS right now!!

I'm enjoying a few of the answers he's given so far.

(heavily paraphrasing)
inquirer: any mics of today you'd time travel back to the old days with?
Emerick: no

Dude likes tube mics

unitymusic wrote: ↑July 9th, 2018, 2:46 pm

upstairs wrote: ↑July 8th, 2018, 4:37 am

unitymusic wrote: ↑July 5th, 2018, 10:19 pmOne last thing: There is an active Q&A with GEOFF EMERICK at GS right now!!

I'm enjoying a few of the answers he's given so far.

(heavily paraphrasing)
inquirer: any mics of today you'd time travel back to the old days with?
Emerick: no

Dude likes tube mics

I wouldn't mind owning a couple of U67s but my understanding is that the people who own them aren't eager to give them away.