Talk:Woodstock

File:Information.svg

An editor has requested that :Coachella (festival) be moved to another page, which may be of interest to this WikiProject. You are invited to participate in the move discussion. InfiniteNexus (talk) 18:50, 5 March 2024 (UTC)

Both this article's section Planning and preparation as well as the own article for the other series of festivals at Woodstock need further work on how the two actually related. According to Woodstock Sound-Outs, Michael Lang said "the Sound-Outs were kind of the spark for the Woodstock festival [...] it provided all the guidelines that I needed, and I was sort of thinking of a broader event but with the same kind of emotional impact." Also, Woodstock Sound-Outs is really lacking in the actual dates of the Sound-Outs, only saying that they took place annually (in Spring?) in 1967, 1968, 1969, and 1970. With its lack of clear data, that other article almost makes it appear as if the 1969 version of the Sound-Out actually *WAS* the famous Woodstock festival, when certainly it wasn't. --2003:DA:CF15:5092:4456:2D1E:D3C3:8B01 (talk) 03:58, 23 July 2024 (UTC)

It's great this article mentions Eddie Kramer and his 9-track 1-inch downmix in an urban studio at all, but the source given for that ([https://books.google.de/books?id=lCUF-Ml_lBYC&pg=PT22&redir_esc=y#v=onepage&q=scotch&f=false Billboard Magazine, 2009]), doesn't even include the words "Kramer", "Scotch", "Scully", "Osbourne", or "inch", at all. It does include the words "tractor" and "trailer", but not in the article on Woodstock. The *ONLY* reference to the audio recordings in the entire source is one single sentence: "The weekend of the event, Rosenman had a sound truck and a 12-track recording facility on-site and camera crews ready."

As said, the one sentence about Eddie Kramer's 9-track downmix in an urban studio after the event is vital, but the information is not found in the source given. I find any and all information relating to the actual audio recordings and their subsequent production immensely important both for this article and those for the film as well as the soundtrack releases, due the staggering difference in sound quality between the film (pristine sound ever since at least early-80s NTSC VHS releases) and truly abysmal quality (tape hiss and mains hum louder than the actual signal, heavy distortion from clipping, most of it sounds like awash in indirect diffuse reverb as if taken from camera mics in front of the stage, rather than from the actual mixing board behind the stage) found on most pure audio releases on LP and CD.

ChatGPT is telling me that that's always been such due to rights and licensing issues: Warner Bros had exclusive licensing rights to Kramer's professional mixdown, whereas all other releases were only granted access to amateurish recordings and mixdowns. Plus it seems a lot of the acts *ALSO* blocked audio releases of the good recordings or mixdowns for some reason or another for decades by wanting the *GOOD* recordings exclusively in the film. --DDBE4 (talk) 01:46, 27 May 2025 (UTC)