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In Reply to: RE: Thank you!!! posted by Sordidman on February 26, 2016 at 11:06:53
My pleasure.
Yes, to clarify, to BEST of my knowledge, NO SACDs exist with Wilson's remixes. They area all based on Ludwig's 24/96 remasters. See the link below. Perhaps I missed something.
Shameful really. To..upsample PCM and charge a fortune. What a crock.
Well to clarify mastering/remastering..(I coordinate reissue products for a living..)
REMASTERING..to me..is a new digital capture of analog master tape, and then tasteful polishing, repairing applied.
If it is a digital source, then one can take advantage of better converters and powerful DAWs to extract maximum fidelity..in almost all cases I am fan of staying in the box if the source is digital.
In the "old days", mastering is a bit of what you describe, it was more of a straight engineering job..but it changed and we started to see the rise of "celebrity" mastering engineers who maybe put more on of their stamp on a recording then was previously acceptable.
To me, the mastering stage should be where a good, experienced pair of ears makes sure everything is in order, with maximum fidelity. The final production master should not be totally a different product then was submitted. Just my take.
Follow Ups:
Very informative- Isaak.
were the original masters not avail for the SACD project?
Do the original masters of the YES catalog exist?
Hi fantja:As I noted, Wilson provides "flat transfers" of the original album mixes on all his Yes projects, some even include original vinyl rips.
The Yes SACD box set was prepared for Japan and in many cases they have no qualms about using PCM sources. Pretty shameful, as I said.
The superb Japanese Platinum SHM series purports to only use analog master tape sources captured to DSD. But those are amazingly expensive..up to $65 per title!!
Edits: 02/27/16
Thank You- Isaak.
I own the original Altantic CDs. I will seek out the Platinum SHM editions.
control...
Intercepting the final mixes before the "master" lacquers/glass were cut at the distribution plant.
They would get 3rd parties to do things like re-order the songs, maybe cut a song, boost vocals, maybe even add compression there. This is the place where they (later) built the DSD files.
When one builds a DSD "master" from a PCM DAT, or analog tape, - It's not really so unfair to call that a re-master. Depending on the changes, sometimes a re-interpretive "re-mix."
I remember the Roy Orbison remasters, where (just my dumb opinion), they ruined them by cranking the vocals up to the point of absurdity.
At the end of the day, - I'd love to get a nice recording of the Yessongs concert: which just doesn't look like it'll ever happen. And, (again) not sure if anyone would agree, - but there was a lot of bad vinyl back in the day too. And at least some of those USA Atlantic Yes records really sucked....
Thanks again for all of your thoughts.
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
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