jh901 wrote: 
> Perhaps you are looking for a singular sound, but the goal is to hear
> the artist's intent- that is, what's captured on the magnetic tape.  For
> Tull, both Aqualung and Thick As a Brick are best heard (for digital) on
> the original US DADC pressings with the VK catalog prefix.  There will
> be an appreciable difference between those and the remasters.  These are
> studio recordings with multi-tracking and overdubs and all the rest. 
> There are definitely preferred masterings for Jeff Beck and Moody Blues
> albums also.  The recording won't change, but hearing these at their
> best can alter the experience significantly.

You're just really missing my point. 

I agree that an artist & his producer have a particular "sound" they are
after. I'm simply saying that they are affected by the fashions & trends
in play at the time they make their recording. The "loudness wars"
exist, for example, because that's what the majority of those in the pop
& rock industry want right now. A particularly dry drum sound was a fad
in the 70s. 

Also, if one changes the mix-down of a multi-track tape, that is a
remix, not a remaster. 

I've been lucky enough to hear a few open reel studio masters and know
that even the much vaunted LP format doesn't really capture what was on
the original tape. Some of the remasters are indeed very good, but then
others have been re-equalized and changed to be more in keeping with the
newer fads, with the main objective being to generate some more cash
from selling yet another release to the faithful. 

So, yes, a carefully done re-release, if the original studio tape is
still in good condition (and they do deteriorate with time) can sound
better than the old LP or original CD, but the fundamental character of
the album should remain the same. If things change too much, one has to
wonder if the original artistic intent is truly being honored, or if
someone else is substituting their judgement as to what constitutes
"better".


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