It's weird that they're showing 9th June on the iplayer as it was broadcast on BBC 2 last night. Had it all set to record but due to a recording clash (that godawful 'talent' show was rescheduled at the last minute) I had to ditch it to watch the football.
I hadn't heard of Howard Goodall before but judging by the description and his background I thought the compositional stuff might appeal to you Ian.
Will give it a watch this week. Might have to dust off my monitors as I don't think the TV's speakers will do the music justice
I watched it and it was very enjoyable. Howard Goodall is more of a classical music guy (remember recording a series he did on the orchestra way back when - on VHS...). He goes more into the analysis of the record from the composition point of view (counterpoint, modes - aeolian etc.), but I learnt a bit from it (I just listen, not analyse, not having had much of a musical education beyond banging a tambourine in the first year of grammar school).
O.K. Last word on this from me. Have learned to live with the limiting. Have to don't we? Thought this video might be of interest. Also found this in the comments section from a rep at Abbey Road who spoke to the mastering person about the use of limiting, as people have been asking about it.
"Following a quick 5 minute word with Miles that I just had, he had the following to say about limiting on the release.
The version that is on all digital media is peak limited, but far from excessively, as the brief was to allow it to still breathe and not to slam the life out of it (around 2.4 dB on most songs, some considerably less than this). Around 2/3 of the way through mastering this album, a new and slightly nicer sounding limiter was acquired and the decision was taken to replace everything that had been done to that date using the newer limiter.
The limiting was done at the request of the artist, producer and mix engineer. They (Paul, Ringo, Yoko and Olivia) have all heard and approved everything and given feedback. Before it was sent to the band, Giles Martin and Sam Okell gave their input, and towards the end of the process approval copies went to Apple Corps. If any of the band or their widows or the label had an issue with the audio which Giles, Sam or Miles could not resolve, this release would not have gone ahead. It is their record and this is how they all wanted it to be presented.
However, because vinyl records are a format which never quite sounds the same twice and given the near infinite choices of turntable, arm, cartridge and phono pre-amplifiers available, Miles made an executive decision to also capture the audio without limiting on a parallel stream in his workstation. This is something he regularly does on albums where he will be asked to cut vinyl masters. The logic being that full scale non-limited digital audio is already too loud to cut for an LP so why boost it further only to reduce even more?