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In Reply to: RE: Kevin Gray. posted by ghost of olddude55 on December 13, 2022 at 07:06:06
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: 12/13/22Follow Ups:
...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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