I can add a few comments: 1. In the Detroit era at Motown we kept mixing until the mix could go across virtually unprocessed in mastering. The only signal processing employed in cutting was a high frequency limiter and a 70 Hz. 24 dB./octave high pass filter that was compensated for during the mix. Tape masters were made at RCA in Chicago that all vinyl was cut flat from worldwide. RCA used Studer C37s just like we used to record and proof our masters with in Detroit and they used our filters to make the tape masters. This was all done for consistency. 2. When I visited Mobile Fidelity in Northern California 15 years ago, they were using a custom-built integrated tape preamp/A to D converter. The only signal processing possible were the high and low frequency trimmers used to match up the tones on the tape. 3. I've learned that both Universal and Sony/BMG are transferring all tape to 192k digital and tapes are no longer available for mastering because they have begun falling apart. 4. Nobody wants to hear this but back when a tape was only a few weeks old, disk and tape sounded remarkably the same. Over time, tape seems to sound worse than a disk cut shortly after the tape was recorded. I have a strong suspicion this is the case because I know our Motown records were cut flat and a CD of a flat transfer from those tapes should sound just as good but doesn't. Vinyl may simply be a more accurate way of preserving audio. A CD-R made from the vinyl can sound much better than CDs mastered from the tape twenty or more years after the fact.
Does anyone know whether there was a for-Europe mastering of Let's Get It On around the same time as WGO (1993) -- and if so, how does it sound? I currently have the WGO/LGIO twofer CD, and once I get the new WGO (which I'm sure I'll like), I'll want a replacement LGIO as well. And btw, I do not like the Gavin Lurssen-mastered 1994 and 1998 editions of WGO, but if he didn't give LGIO a similar bass boost I would consider buying that.
Thanks for the insight. All record labels should be or should have already been archiving analogue master tapes and multitracks to digital precisely for the reasons you mentioned.
Are you sure the 1994 EU disc is remastered? Given its catalog number, I wouldn't expect that. But I never heard it myself. This release should be an 80's disc: http://www.discogs.com/Marvin-Gaye-Lets-Get-It-On/release/6089167. But I cannot tell you how it sounds because I never heard it. I expect it to sound like the LGIO on the German twofer from 1986, though. The best sounding LGIO master IMHO is the one on the Japanese twofer. Maybe there's a single disc release of this master, but I don't know about it.
Unless I get a single, definitive answer on what's the best-sounding LGIO CD, I thing I'm just going to pass on getting it. WGO plus the 1995 Anthology will do. I think Anthology has several LGIO tracks anyway.
I really like the sound on the 1998 remaster. Bought the double CD version just to have the "Detroit mix". I Think the 1998 remasters are a great way to hear his 1971 to 1976 studio album output. Very wallet friendly too! I see them often in the used bins.
If that's a Gavin Lurssen mastering, I'm afraid he may have given LGIO the same bass boost he gave his 1994 and 1998 WGO remasters (which are the same). I didn't like how they sounded at all.
It's been so long since I heard an older CD of Let's Get It On. You may be right about it (94 and 98 remaster) being bass boosted. I will try to find an old one and compare! When It comes to What's Going On I love how my 1998 disc sounds. BUT reading this tread makes me want to find an older master of that too! Just in case.
I'll report back after I've heard the 1993 WGO disc. It's mastered by Inglot/Hersch, btw. That's stated in another thread here -- maybe this one as well.
I guess it's all a matter of personal taste. I had the 90s single CD and the twofer with Let's Get It On. But I find the 2 CD anniversary Deluxe edition much better sounding. It also has the Kevin Reeves Detroit mix on Cd1, and the 1972 Kennedy Center concert version, as well as three original single versions on disc 2. I would personally go for that one by some distance. Sadly, I no longer have my original vinyl. I have a fairly recent 180 g Tamla vinyl, but unusually I prefer the CD. I also like the Deluxe anniversary CD versions of Let's Get it on, and Trouble Man. To my mind Motown (or Universal) have done a really nice job on the 3 anniversary Deluxe CDs. I also have the Mobile Fidelity red series heavyweight vinyl of Let's Get It On, which is very good. To me it's quite a different sound to the CD, so again I would say best sounding is down to personal taste. For the money, I would go with the CD.
For whatever reason, someone -- or some people -- here are under the impression it's an Inglot/Hersch job. The important thing is whether it sounds good. Does it?
I think the only way for you to be sure is to listen to all of them yourself. I own 4 as you can read in another thread on this forum. I think the MFSL SACD Redbook layer and the one on the R40M-1002 Japanese twofer sound very good (and almost the same). The West German ZD72456 lacks bass. The 2002 EU 064 021-2 is compressed.
I have the original non-remastered version, are you interested in that one? http://www.discogs.com/Marvin-Gaye-Lets-Get-It-On/release/5719698
Are you referring to this? http://www.discogs.com/Marvin-Gaye-Whats-Going-On-Lets-Get-It-On/release/1951065 I'm pretty sure its the same mastering, but not 100% sure.
Yours and that twofer are mastered by different engineers, but I'm wondering how much alike they sound anyway. And I still have the twofer after all (though I'm not crazy about it).
Oh really? Unfortunately there's no mastering credits on the Discogs page. Are you able to upload an audio sample from your two-fer? If so I can compare it to mine.
Ok. I just did a quick comparison of the Motown CD to the MFSL SACD. The Motown is the clear winner for me, beautiful midrange, rich vocals, and in general sounds more "genuine".
