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...in "The Return of..."
The blissful counterstroke-a considerable new message.
Follow Ups:
Huge Gram Parsons fan here!
Just watched "Grand Theft Parsons" over the weekend.
He was taken way too soon from us.
He and Emmylou were so young. What an age in country-folk-rock music. A decade of great singer-songwriters finding their way. Gram was one of many that didn't get their chance.
Mastered by Kevin Gray, got a boffo write up on Michael Fremer's Tracking Angle .
I have a copy pre-ordered but it's already nearly a month behind schedule.
Just to stay in the Gram Parson's vein, pulled out Sweetheart of the Rodeo and spinning it now, for the first time in several years.
The blissful counterstroke-a considerable new message.
I have it. Ordered directly from Intervention records. Excellent.
Still hasn't shipped, and they pushed the release date back a month. I might cancel that order and reorder from Intervention.
Hell, Amazon has it, but the reviews are nearly a decade old and there's no way to tell if it's the Edsel Records reissue or the new one.
But...I cancelled the AS order and found a copy on EBay from get-import-cds. I've ordered from that outfit before, fast and excellent.
The blissful counterstroke-a considerable new message.
Edits: 12/13/22
Expedition reissue looks interesting. I've had good luck with reissues. Not always big improvements but always pleasant differences.
Sweethearts is definitely one of the two top Byrds albums on my list of favorites.
I didn't care for the stuff he did with Steve Hoffman, but I've come to the conclusion that Hoffman was the problem there. The work Gray has done with the Blue Note reissues since he started Cohearant Studios is terrific. To my ears, he doesn't add or subtract anything from the source, either master tape or digital safety file. Gray just seems to get the best out of it. The Blue Note Tone Poet releases are just superb.
The blissful counterstroke-a considerable new message.
Edits: 12/13/22
He does good work. My biggest disappointment with some remastering projects is whoever did the mastering thought the reissue needed lots more bass. I've found that T Bone Burnett is especially bass happy. But I think a lot of that has to do with modern tastes in tonal balance.Edited: It's not that I don't like T Bone Burnett's work, he's produced some great albums with artists that I really enjoy listening to. It's just that more times than naught I can tell when T Bone Burnett has had some influence on the release. :-)
Edits: 12/13/22
...into the early Seventies, the engineers had to cut the bass because the tone arms and cartridges of the typical playback system couldn't handle much bass energy without skipping.
Think console stereos and portable record players. Plastic tone arms, ceramic cartridges that needed stiff cantilevers in order to generate a signal.
There are no such constraints today. Whatever bass is on the master tape can be put into the grooves.
The blissful counterstroke-a considerable new message.
"...the engineers had to cut the bass because the tone arms and cartridges of the typical playback system couldn't handle much bass energy without skipping."
That is still true.
I will assume that you meant that in the 50's and 60's engineers had to cut the bass even more than the RIAA curve does?
Tre'
Have Fun and Enjoy the Music
"Still Working the Problem"
Rudy Van Gelder didn't like doing it, Art Salvatore has an excerpt from an interview with the engineer who cut Living Stereo LPs for RCA, and there's the example of the Bob Ludwig LZII.
The had to EQ less bass than was in the master tape because most people played records on toy record players back then.
The blissful counterstroke-a considerable new message.
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