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In Reply to: RE: Thank you!!! posted by Sordidman on February 26, 2016 at 10:06:53
I consider it remastering. Sure there is a lot of editing going on. Reducing noise, expanding dynamic range (like my old dbx 3BX) an little EQ and I'm even getting brave with subtle changes to the stereo image - sometimes bringing things more to center (early Beatles) or doing a little cross cancelation to move a sax a litle to the left. Mostly playing with it until I feel it is right and locking in the mix. I'm using and Learning the Izotope suite of products. Kinda fun actually.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
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changed. Good to be tolerant, but it also causes a lot of confusion.On commercial products, once purchased, the recording has been through 4 or 5 generations of re-dos. Very few HiRez re-dos from the original studio involve the final mix 1/4" 2 track reel-to-reel tape.
Since the process of creating/building/mastering the DSD file involves violating the original intention of the artists on the project anyway, - the last thing that any "good" engineer SHOULD want to do is violate the second or third master that was already altered from the 1/4." The mastering process for cutting lacquers for vinyl, (setting up the EQ), is very very different than burning a glass CD master.
How many "interpretations" of the original final mixes are too many? And, how many times has another format been released based on an already terrible, vinyl copy? Like any other format, there is a ton of SHITE vinyl recordings out there....
It's cool that you're doing some remixing. I call, (and I think that many other engineers, etc), what you're doing Remixing. If you don't like the sax part in a particular piece, - just kill it. But of course, you're certainly violating the intention of the artists. I remember Roy Orbison's label creating a "greatest hits" CD that cranked up Roy Orbison's voice, and turned down the instrumentation. But, Orbison was there, overseeing the mix.
I find it a gross and flagrant insult that a record label would hire a "clean-up" artist like Steve Hoffman to intercept a recording from the artists/producer before it reaches the pressing plant; and do things like "warm-up" the recording, re-order songs, shorten the length of songs, cut out a song, turn up or turn down the volume of certain instruments, only to make the end product more commercially palatable.
Getting back to Yessongs. I just wish that Steve Wilson would've done the whole YES catalog into DVD-A/Blu-Ray. And, certainly one of the most popular Yes albums has to be Yessongs. Given that even the vinyl version was horrible, - you'd think that it'd be a fun challenge.
"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.'"
Edits: 03/24/16
Sorry if it has been mentioned in this thread, but Audio Fidelity has to legit Yes SACD titles out. Going for The One and Close To the Edge, with purported analog to DSD lineage. Additionally, Mobile Fidelity has the Yes Album and Fragile.
I like the way MoFi works..they do all their "mastering" in analog THEN capture to DSD.
It is all very cool projects, indeed.
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