More diificulties with Nektar… Their show on 1974-09-28 was recorded and released on several releases. There was a power cut during the performance of Remember The Future, Part 1. The band continued where they left off after power was restored. On most releases, the power cut was cut out, but on the last two re-issues, the power cut was left in.
On one of the releases, the whole song with power cut is presented as a single CD index:
On another release, there are two CD indices, resulting in these recordings:
Personally I would prioritise a recording over a CD index, since it’s a bit arbitrary with long suites of continuous music or live recordings. All releases are taken from the one and only recording that was made by a radio station so wherever a record label adds a track index I’d mark that as the same recording, but I don’t know if MB uses the same prioritisation.
So for MB, do we have three recordings in this case? RTF1, RTF1: Start, and RTF1: Conclusion?
All three would then be linked to the same work, with the last two marked as ‘partial’.
I guess if you stitch RTF1: Start, and RTF1: Conclusion together there is an overlap? So some editing is required to create RTF1? Therefore, in that case these are three separate recordings. But relationships can link them together.
Ignore that word. I just plucked it from my head. It is not a normal MB term.
I probably should have said “different Recordings”. I was trying to find a way of showing the two separate editions of this. One being an entity made from two edited parts with the power cut trimmed out of the middle. The other being those two parts left unedited.
It is the same “performance” in the English language.
This is one of the releases that contains the full recording, including the power cut:
There was an earlier release with this that is not on MB yet (Eclectic release of Live In New York, the first release with the full show). I will add it later.
Oh, I see, it’s split into two. I thought you meant there was a release where the full recording (including the power cut) was available on one track.
Tricky situation, it might be best to create a standalone recording to represent the full (unedited) recording, then you could link the shorter (edited) recordings using the recording-recording “edit” relationship.
Yes, this Nektar entry is giving me headaches… So many different situations and track title differences, long suites played in parts, used on compilations in different ways. But we’ll get there!
The history makes sense. I see a “Recording” as a copy of a single performance. I visualise the actual reel of tape in the recording studio.
In this example we would have three different bits of tape representing what was heard. A “two tape” copy of the original recording. And a “one tape” copy made by duplicating the “two tape” copy and cleaning up where they are cut together. Each Recording is therefore unique, but related.
A single performance has lead to multiple Recordings. It makes sense why MB has moved to that Recording term as it is a better description of what MB has in the database.
Medley = A single Recording referencing multiple Works
Compilation (as a recording relationship) = A single Recording combining multiple other Recordings
I have always used “medley” because that was the one that is offered when I am editing a Release using the Edit Relationships page.
I have now gone to a recording and can see there is a difference. Medley puts to WORKs together, Compilation puts RECORDINGs together.
BUT - in this case is it really a “Compilation”? There is a little bit missing when Part 1 and Part 2 to are stitched together. May only be half a bar, but is that enough to make it a totally different recording?
If I disregard the common definition of “recording” and use the MB one I have been taught the last couple of days, I guess it should. It’s how I understand it to work now so for now I guess I’ll go that way.
So I am going to use different recordings for these cases:
edits, even if half a bar is missing (like the example above)
edits not in the music but in the applause before and after the song (which often happens when a live track from an album of the whole show is used on a compilation album)
when different releases have different track durations only because of the one doing the mastering or artwork:
live albums that get a re-issue with exactly the same recording except different start indices of the tracks
studio albums with long suites (Nektar’s first album and Recycled) where the division of tracks is rather arbitrary
live LPs where the track durations cannot even be checked and can be entirely wrong
I’ll have to revisit all my edits, I’ll just start from the first album again.
Maybe I’ll go and add disambiguation tags on all recordings first to make life easier…
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So it went from performance to recording and now it’s more like a version of a recording…