I thought about buying the Endless Love compilation, but the track list just didn't grab me enough when I placed the order yesterday. Ultimate Sound looks like a good compilation.
Al Di Meola / John Maclaughlin / Paco De Lucia 'Friday Night in San Francisco' HK SACD vs. UltraHD 32-bit Mastering CD "We have the right to have rights." -- (?) I'm trying to get to the bottom of this and still didn't get to the very bottom yet. 'Friday Night' was remastered 3 times: 1997 20-bit Remaster by Mark Wilder has been used for 1999 SACD release. 2012 24-bit/100kHz K2HD JVC Remaster by Hakamata Takeshi, Japanese print. 2014 UltraHD 32-bit Mastering by Michael Bishop, US print. I do have UltraHD version of this album and, upon HK SACD review (Post 127), I decided to order SACD version. Here is an excerpt from this review: "The sound of the guitars is now much more natural and better defined with each player's specific sound being clearly audible whereas before there was some brightness in evidence which masked low level details, colored the sound and as a result, made it slightly more difficult to identify who was who playing. If played loud, the music could become tiring and relentless. Needless to say that the separation now between the instruments is better than before and the sense of togetherness between the players is now simply beyond belief... ...The sound is not only more relaxed but also more natural than what I used to hear before in my domestic environment, with superior dynamics, even if played at loud volumes. It sounds almost analogue like without that hint of exaggerated warmth usually associated with analogue sound. This surely is ample proof that the improvement with the sacd format is a very worthwhile upgrade and anybody having missed the opportunity of buying this sacd last time and wondering whether it's worth spending this outlay of money, can confidently go ahead with the purchase..." So, I did it. Yesterday I spent the entire evening comparing SACD with my UltraHD disc, and I can say: I completely agree with reviewer: yes, it's very clear sound without any brightness and good separation; yes, it has good dynamics and ability to play loud, and I believe the strings sound more natural "almost analog like", much better than early CDs. Nevertheless, believe me or not, UltraHD disc sounds better. I wish, guys, I would "declare" now like: "SACD made upon 32-bit Master, which already was outstanding, and added hi-res advantages to the SQ!" Nope, nothing like this. Sorry about that. Everything was just an opposite: SACD sounded thinner, while Ultra had richer and much fuller sound; it had full body of guitar sound. But the biggest difference was in the sound presentation. Ultra is putting you on the front seat, while SACD is pushing you to the back seat with cheap ticket in hand - soundstage was way narrower. The sound of the both discs was very open and clear, but Ultra had better defined lower mid (there is no bass to talk about it). They are very similar in dynamics, but Ultra could go a couple dB higher in crank-ability; the sound of it was more immediate. This morning I tried them again with "fresh ear" - nothing changed overnight. More or less, UltraHD CD won in all aspects of the sound presentation, especially in the 3-dementionality. All of this tells me that Sony didn't use 2012 or 2014 Remaster for DSD conversion. It's a pity, but it is, what it is - we have the right to know.
Yes, but point is: why hi-res version is not a Michael Bishop work? It is Sony, who has paid for the mastering job or am I wrong?
Thanks for the comments. I just received the Friday Night in San Francisco SACD yesterday. It is in a pile to be played soon. Is this Hong Kong SACD a reissue of the original Sony SACD mastering? I also have the K2 HD and Ultra HD versions, but I'm not sure when I will get the chance to compare them to the new SACD. In total, I received these Hong Kong SACDs yesterday: Time Out Kind of Blue Friday Night in San Francisco The Hunter Ultimate Manilow Ultimate Sound SACD: Timeless Frankly, I bought the three jazz SACDs since I am a hopeless collector. I have many other versions of those albums, including other SACDs of Kind of Blue and Time Out. In keeping with this thread, I also have the K2 HD and Ultra HD CDs of Time Out and Kind of Blue. Too many discs! With the above order, I am most looking forward to hearing the last three discs, as these are new titles on SACD. I've started listening to Ultimate Sound SACD: Timeless, and it sounds great. A warning, however. Have a pillow to clutch and a box of tissues nearby. Regarding The Hunter and Ultimate Manilow, I would like to think that the SACDs have the same mastering as the corresponding Ultra HD CD. I don't really want to buy the Ultra HD CDs. Do K2 HD and Ultra HD CDs generally have a different mastering?
1. I still don't know, as I don't have original SACD to compare. I only can say: it is not conversion based on 2014 UltraHD mastering. However it could be based on 2012 K2HD mastering, which I don't have to compare either. 2. Yes, they have. UltraHD 32-bit Mastering is a part of very limited CD production process, named PureFlection with quality control of each step of the way, especially of a stamper making. Sony released only 8 titles and production stopped due to illness and latter death of Winston Ma. "A Better CD Production Process - The Pure Reflection (PureFlection) Process: FIM's first priority is to locate a factory that offers the latest technologies throughout its entire production chain, from the best A-grade polycarbonate materials, to testing and accurate quality control tools. The factory must produce a detailed specification sheet which ensures the discs produced demonstrate the same quality as the original recording. To assure of the best results, FIM has enlisted the help of one of the most experienced mastering engineers in the industry to craft the glass disc for the final replication process. Winston Ma continually maintains close rapport with him, as well as the original recording engineers, the mastering engineers and the manufacturer to achieve consensus regarding musicality and the sound spectrum. FIM's glass mastering-disc engineer maintains expertise in the latest technologies: he currently uses a special blu-ray recordable mastering thermal process technique to create small smooth grooves which result in precision fidelity. He is meticulous in ensuring the best track pitch and the distance between the spiral of the pits, to reduce the amount of noise the tracking servo in the drive picks up from adjacent tracks, thus ensuring the best parameters on Cross Talk (XT) by minimizing the servo noise of the Drive during playback of the replica results. To further ensure the best quality, FIM stipulates the most extensive test specification requirements. Pure Reflection (PureFlection)discs show in every CD booklet the full spectrum of specification of a given CD in the several categories. Ultra High Definition 32-Bit Mastering. Ultra High Definition 32-Bit Mastering is a proprietary ultra-high-quality mastering system. This leading-edge system has achieved unprecedented sonority and musicality, reproducing as closely as possible the sound of the original master tape! This format employs what is currently the highest attainable resolution bit depth (word length) in the professional audio field, i.e. 32-bit. 32-bit resolution makes possible maximized, undistorted dynamics, and the lowest noise floor, allowing even the quietest musical information to be heard more clearly. This breakthrough results from the development, through years of experience and application of advanced digital technology, of a sophisticated A/D and D/A processing system. Ultra HD 32-Bit Mastering does not specify a sampling rate; this allows flexibility in meticulously choosing the appropriate bandwidth for a particular recording. The higher the sampling rate -- for example, 192 kHz -- the greater the bandwidth. However, merely employing the greatest bandwidth may not guarantee the ultimate sound. With some recordings, a lower sampling rate -- 96 or 176 kHz -- may offer better musicality and more homogeneous harmonics. This determination requires careful and discerning auditioning and professional judgment. In the end, the human being’s hearing and emotions should be the final arbiter, rather than the print-out of testing equipment or technical measurements. Recognizing these variables, FIM nevertheless tries to use 32-bit depth and 192 kHz bandwidth whenever the original analog master is at hand. Alternatively, if the original recording is on 24/96, the 32/96 may eventually be used to maintain the integrity of the sonority particular to that recording. With this flexibility, First Impression Music believes that preeminent sound is only achievable when the chemistry of the recording, mastering, glass-stamper making, replication, and quality control is right. As always, listening is believing. The benefits of Ultra HD 32-Bit Mastering: • Ambience of Analogue Sound • Higher Resolution • Undistorted Dynamics • The Lowest Noise Floor, allowing even the quietest musical information to be heard more clearly! • Richer Sound Field • Master-Tape Quality Sound" K2 Technology: "In 1987 JVC started to improve the digital sound quality, and developed 'K2 Technology' as JVC's original. To begin with 'K2 interface', innovative technology to cancel fundamentally the elements out of signals such as "jitter and ripple" added at the time of transmission of digital signals which affect much the sound quality, this technology has been active in various professional recording and mastering studios as essential technology. JVC is proud of this technology including the newest 'netK2' and 'K2HD coding.' K2 High Definition Coding: "New technology developed by JVC group, which can pack the information of wide frequency range up to 100kHz and high resolution of 24-bit into lower format. This is a part of 'K2 Technology'. In case of CD's, it is possible to pack the information of 192kHz & 24-bit into the format of 44.1kHz & 16-bit." [It is possible, but... (please pay attention now)]: " It depends on the master sources. In case of completed master sources such as 'Analog Masters' with attractive original sound, it can keep all the information included in the master sources without any change. In case of Digital master sources in which the information or sound quality has already changed compared with the original masters, it can reproduce the sound quite close to the original." In my experience K2HD mastering from Digital sources does not give good result. It is nothing, but cutting corners, especially when they use outdated 16 and 20-bit digital remaster of 90's and applied K2HD Coding technology to it - result is very subtle. What we need to know: When they used Analog Master they put name of the mastering engineer on the back of the cover Takamata Takeshi. But there is no name, when Digital sources were used (competition cases):
That is hard to say why one mastering ends up being used and not another. An insider would have to confirm what happened.
Friday Night was also remastered by Doug Sax for the Mastersound Gold CD. It is my favorite version compared to the original CD, the 90's remaster and the Sony SACD. I have not heard the new 32 bit mastering though.
Keith, you will need to have your wife close by with the just released "Ultimate Sound SACD: Endless Love" 1. Endless Love - Lionel Richie & Diana Ross 2. Stay Awhile - The Bells 3. The Winner Takes It All - Abba 4. Lovin' You - Minnie Riperton 5. The Morning After - Maureen McGovern 6. I Honestly Love You - Olivia Newton-John 7. Moemnt By Moment - Yvonne Elliman 8. You Needed Me - Anne Murray 9. Save The Best For Last - Vanessa Williams 10. Get Here - Oleta Adams 11. Happy Ever After - Julia Fordham 12. You're Still The One - Shania Twain 13. Piano In The Dark - Brenda Russell 14. We've Got Tonight - Kenny Rogers & Sheena Easton 15. I've Never Been To Me - Charlene 16. Rush Rush - Paula Abdul 17. I Still Believe - Brenda K. Starr
"Soundboy, could you please check out HK sites - it maybe more Uni's titles are hidden somewhere..." (from Post 174)
For now, I think we have all of the English language HK Universal Music SACD titles. However, HK Universal has already promised much more "audiophile releases" in July, ahead of the annual HK High End Audio Visual Show in August. There was no mention of specific formats. Keep in mind HK Universal releases hi-res titles on SACD (SHM or otherwise), Blu-ray Audio, vinyl record and micro SD chips. Maybe the Beatles will officially on SACD? (the Beatles has already appeared on a compilation SACD)
Mike Oldfield Tubular Bells HK Hybrid SACD vs. Japan SHM-SACD "Tubular Bells is a bone in a British culture." -- Danny Boyle (Art director of 2012 Olympic Opening Ceremony). - "His music is fantastic, like Beethoven, Bach and Mozart but it was a different era. Thank God I was born in the 1900's, otherwise I would not have heard Mike's music... - "It had left me in tears . Amazing , stunning performance!" - "I would stand in front of a bullet for Mike..." (from the comments) Mike Oldfield is a musical genius who lives among us. At an early age he already had his own compositions, some of them 15 minutes long. At age 17, he already had basically his first album in his mind, and 2 years later he recorded it, playing more than 20 musical instruments with multi-layered recordings (such a thing has never happened before). Yes, but before all of this, Mike rented a small apartment with Kevin Ayers, who already had his own band. A few months later, Kevin moved out and left their small stereo tape recorder to Mike. So, he started to record their musical ideas on the tape. This was his first demo. (It was not actually Tubular Bells as Mike saw only a set of tubular bells for the first time when they were unloaded from the truck, before starting work in the recording studio, and he asked: "Would you leave it to me"). He brought this demo to producer Tom Newman, 29, who showed it to his friend Simon Heyworth (co-producer). It's amazing how they were able to see in this rudimentary demo next masterpiece. Together, they decided to show this demo to Richard Branson, who was going to take a bank loan to build a new label Virgin. And it has become the very first Virgin record with total nearly 3 mil. sales in the UK. (The album continue to sell, at the time, when Mike performed rendition from the Tubular Bells at 2012 Summer Olympics, it reached 17 mil. worldwide). Mike wanted to forget and throw Tubular Bells from his head. He said: "I wanted to create something really big, I didn't realize that I've already done it. "He moved on and recorded 2 more albums in the same style. All of them are masterpieces of Prog. His second Hergest Ridge was standing on the top of the chart for 3 weeks, while Tubular Bells was the second for 10 consecutive weeks, and then jumped to the top spot for another week. Tubular Bells popularity grew slowly, as people needed time to get deeper into his music. (His third Ommadawn my favorite. To get 5 of Mike's best albums, add Amarok to his four first albums). He went through 3 major labels: Virgin/EMI (1973-91), Warner (1992-2003) and Mercury/Uni (since 2004). Now he is back to Virgin, since Uni and EMI are merged. He left Virgin due to disagreement over the name of new 1989 album. Virgin insisted to name it 'Tubular Bells 2', as it was in the same style, while Mike responded with 'Amarok'. And first album he released on Warner label was 'Tubular Bells 2'. [You cannot argue with genius, who can write, as many Tubular Bells albums as he wants]. In his life he is very open to the public (LSD, 'Tonic' foundation, 7 kids, 3 wives, pilot license, 5 bikes, cars and boats). He used to live in different courtiers and has moved to Bahamas in 2009. He has returned to Tubular Bells a few times: Tubular Bells 2 (1992) and Tubular Bells 3 (1998) were inspired by Tubular Bells theme, while Tubular Bells 2003 was re-recording of original album "to fix many imperfections in the original due to the recording technologies of the early 1970s and limitations in time that he could spend in the recording studio. It celebrated the 30th anniversary of Tubular Bells, Oldfield's 50th birthday and his new marriage in the same year." [In 2001 I went to my local Best Buy store and bought Original SACD of Tubular Bells for $18 (remastering by Simon Hayworth) with Quad mix. It was the best digital version at the time. I can say about sound quality of this disc: I don't have it any more]. Finally, in 2008 35-years Virgin contract was expired and Mike has gotten the rights on his Virgin releases. In 2009 Mike started new and very serious project of the second Remaster and re-release of his entire catalog, involving about 20-men Mercury crew, including remastering engineer Paschal Byrne. Uni released Deluxe 2CD+DVD 5.1 in digipak and gorgeous Japan Mini LP CDs with UK and US covers and small book in between. For this 35 years Mike recorded many of his album himself. He gained a lot of experience and skills. He decided to do all remixes himself. And he did good job. When I bought SHM-SACD, I took it to Chicago High-End show and tried in very fine systems. I couldn't play 25 min long piece there; I only could try 3-4 min of each track. It sounded excellent and I thought I'm covered. But it was only the part of the story. I can see it clearly now, comparing both SACD in my own system. Part 1 It was not easy to compare these two SACD, to be honest. Every few minutes the music is changing in the melody, new instruments are getting in and the intensity goes up and down, as well as peak power. Thus, I have to define some points where the music changed, and all the time I had to get to these points in order to compare discs and it takes a lot of time, especially in A / B / A comparison. In other words, it's hell. Starting from very beginning, bass guitar part was missing in original mix, but it was well presented in 2009 one. (You can see Mike on bass guitar in BBC Live video, I provided). Mike improved stereo mix a lot, lifting missing pieces and details. He also improved channel separation and presentation of the instruments here. Starting from the point 17:05, for example, he put two parallel guitars from two channels with tad of delay, which widened sweet spot. Overall, both discs are very close with open, clear and airy sound. However, HK disc sounds clearer in the peak power moments. There is, for example, a bit of brightness in a voice of Master of Ceremony, but it's much less in the Hybrid one. Part 2 All the way through the 8:30 min point sound of both discs was clear; Hybrid showed just a bit more of the bottom end, and therefore was a little more consistent, not much. However, after this point to 12 min point, better bass presentation in the Mike's remix became more obvious. After 12 min, when music has changed to experimental rough and harsh sound, Hybrid won at the higher margin with better dynamics. I could go up to 55dB with SHM, while Hybrid easily could stand 60 and I believe could go higher. I enjoyed listening to these rocky moments, sounding so loud and clean, without any distortion. Then, at 16:20 organ was getting in with bass guitar for a moment, living the center stage to a beautiful solo guitar, while bass guitar was still supporting solo. Again, bass was very shy in SHM disc. In the very end mandolin unexpectedly broke through, sounding like an ethnic balalaika to me. And this high pitched sound was a bit clearer in the Hybrid version. In conclusion I can say: I am very happy with this HK release and recommend it, as the best digital version. (Nobody knows if there will be unnumbered second print available or not, but for now, with price of $31.30 + free shipping on eBay for the first 1000 copies, it's a steal). SHM-SACD was 2011 Flat Transfer from original Master tape. It should be done based on 2009 Remixes on a first place, as it was an improvement over the original. At least Uni corrected that now. If Uni will continue with Flat Transfer for this series, it's fine with me, since I use to gamble with hit or miss flat transfer result. However, all albums, which were remastered/remixed from 2009, should be considered for SACD release based on good remaster/remix rather than flat transfer (think Steven Wilson Remixes). I am looking forward to the Uni releasing more Mike's albums in this series. Please, guys, find 25 min. to watch this - it can be erased any moment. (When everything was ready for the Live performance and broadcast, Richard Branson was taking Mike to Queen Elizabeth Hall in his new car. Mike refused to play live. "I am sorry... I cannot do it, Richard, I just cannot..." - he repeated. Then, he said very firmly: "Richard, you're not taking me seriously, I'm not going to play on stage." And Sir Richard said: "If I will give you the key of this car, you can drive this car off after the concert, would you overcome whatever is bothering you?" It was a key of... his new Bentley - Richard's wedding present). Tubular Bells Live @ BBC (1973) High Quality Remaster. Mike Oldfield - Tubular Bells 3 live (4 minutes Interview, 8 minutes music) » "Just write Tubular Bells 4 and keep us all entranced for another 15 years, PLEASE Mike!" (comment) Mike recently announced on facebook that his new 26th album 2016 Return to Ommadawn is ready and will be released soon. Mike Oldfield is currently working on... Tubular Bells 4.
I see JVC are releasing some King Crimson titles in HQCD format (which they've done before) but with K2 HD mastering (which they haven't). Titles are In The Court Of The Crimson King In The Wake Of Poseidon Lizard Islands Earthbound Larks Tongues In Aspic Starless & Bible Black Red USA Radical Action (new title) It's not 100% clear to me whether these are based on the 30th anniversary discs or the more compressed 40th anniversary discs (both of which are available in HQCD format). However on the CD Japan web page under description in Japanese for Starless & Bible Black it says KING CRIMSON PAPER SLEEVE COLLECTION 2009 HQCD盤が、K2HD HQCDにスペックアップして発売決定。紙ジャケット仕様。which suggests to me that it's based on the 30th anniversary disc. QUESTION: Is there much difference between discs in HQCD format & discs in HQCD format using K2 HD mastering? (I found the HQCD Starless & Bible Black to sound much better than my 30th anniversary version. I also bought the Sylvian/Fripp Damage HQCD & I could hear little or no difference between that & my standard disc.)
JVC has no access to the master tape. In my experience K2HD mastering from Digital sources does not give good result. I didn't compare King Crimson, but ELP JVC releases in this respect and was very disappointed. WOWOW Platinum Crimson release make much more sense for Hi-End system. (Also, Blu-spec 2 vs. reg. ed. sounds better, but it is not a case). Robert Fripp is up to audiophile sound. When he will finish 40th Ann. of his entire catalog, he should give us something... cutting age, as 2019 50th Ann. Ed.
I'm not as optimistic as you are. Having read Bill Bruford's autobiography where he comments on Fripp's hearing problems, I suspect that although Fripp would like to provide great sound I suspect he can no longer recognise it. He is in his 70's & his ears will have been subjected to lots of very high volume music so his hearing can't be great. For example the Fripp approved 40th anniversary CDs are more compressed than the 30th anniversary series. In many (all?) cases the earlier Fripp approved Definitive Editions sound worse than the originals. Many forum members, myself included, think that the first KC CDs for most titles sound the best. There's a very long thread which discusses various KC releases. Getting To The Bottom of King Crimson On CD » That's why I mentioned the Starless & Bible Black CD as that's arguably one of the few KC CDs that sounds best in its 30th anniversary mastering. I find your comment about JVC's access to master tapes interesting. Even if they don't have the master, presumably they may have an analogue copy rather than a digital copy?
P.S. As I mentioned before, in 2003 Mike re-recorded TB with name Tubular Bells 2003. Since I have it, I can say: it easily beats sonic-ally any version, especially stunning is bass performance. It lost in sound presentation, in clarity and especially in separation between the instruments. It is crying to be released in SACD format. I hope someday Warner will do that and Tubular Bells II and III with new Remaster as well. This is an amazing concert, especially finale with tower bell ringing... (you can see Richard Branson in the very end). Concierto COMPLETO de Mike Olfield - Tubular Bells III en Londres. Año 1998. Mike Oldfield - Tubular Bells III CONCIERTO »
An impact of the Tubular Bells in the musical world was huge, starting with Virgin founder Richard Branson, who favorite song at the time was Cliff Richard's Bachelor Boy. Thousands musician were inspired by the album and that didn't change even now. (from the review). "Robert Reed, main composer of both the female fronted symphonic prog band Magenta and his sophisticated side-project Kompendium, is a very busy man these days! In addition to those two acts, he's not only helped out with bands like Touchstone and Materya over the last couple of years, but he's painstakingly worked away on this solo project `Sanctuary', and it's simply the absolute crowning achievement of an already wonderful career. Taking inspiration from Mike Oldfield's `Tubular Bells', Mr Reed has crafted two side-long suites of (mostly) instrumental music that effortlessly and seamlessly transitions through a mix of symphonic, world, new-age and light ambient styles, with even a bit of chanting and brief Celtic elements as well... ...Available in a number of formats, including both vinyl LP and a beautiful DVD-Audio set, Robert Reed may have initially used `Tubular Bells' as a starting point of this work, but this is not some mere imitation or uninspired remake. It's a love-letter for a time when the album form was looked upon with the potential to be a grand artistic statement. It may have its roots in the Seventies, but it still sounds vital and fresh now, and every single theme Reed introduces throughout this epic is impossibly moving and momentous. It's one of the most captivating, distinctive and special progressive releases of 2014." Please watch this very nice and unusual short video: However, Rob Reed didn't stop here. Tubular Bells inspiration was good enough for his second Sanctuary II, co-produced with Tom Newman and Simon Heyworth (mastering) - is not it something?: (from the review) "Personally, despite some references, this begins to not be Mike Oldfield, but the work of a worthy follower. What we have here is the very talented multi-instrumentalist, producer and composer Robert Reed, (Magenta, Kompendium, Kiama) with its continuation to "Sanctuary" purely Oldfield 2014. Produced, mixed and directed by Rob, and this time joined the original production equipment technician "Tubular Bells", Tom Newman and Simon Heyworth, who have helped the album a cleaner sound. Sanctuary II (2016) has the rare peculiarity of sounding like an album of Oldfield without it easy to find the exact references. The technique of striking melodic progress is there, the risky combination of instruments of all kinds also still in force, and especially the singing voice still carries that clean and expressive electric guitar ... but still sounding Oldfield, we do not know very well what melody referenced, and that can be a great virtue for those who want to see Reed get away from the canon and tinkering on your own. Making a complicated exercise in imagination, perhaps we could understand Sanctuary II as an album Oldfield would have composed if his instrumental epic stage had not been completed. With what we were is the commitment of Robert Reed to fulfill the desire of the old Mike: someone to take over and continue composing instrumental long in which the listener can dive. It has taken years anyone to carry to term this idea so explicitly... Robert Reed be able to continue delighting without being in the shadow of the giant. Gradually it is achieving." Sanctuary II is considered by many even stronger effort. I have both albums in an excellent digipak CD+DVD-A and 2CD+ DVD-A editions; so is sound quality. Rod mixed both albums himself, but Sanctuary II CD2 has Tom Newman Mix version. DVD is region free NTSC, 5.1 Mix and 24/96 Stereo Mix. Sanctuary II : Robert Reed OPENING Single Edit PROMO »
Thank you for the link - I have to check that forum, you mentioned. I cannot comment on the original CD, since I have only 30th Ann. complete set and 40th (my favorite albums), I upgraded to Pt. I conducted the comparison test with all of them. I didn't have opportunity to post this test (though I have paper notes), since I count the tests on this thread are more urgent. I plan to refresh my test result and post it on Platinum thread soon - I'll let you know. Generally, how can 40th Ann. discs sound "more compressed", if it is just an Original Master with new Mixes - Fripp and Wilson didn't mess with new Mastering to make it sound more compressed(?): https://www.discogs.com/King-Crimso...n-Observation-By-King-Crimson/release/8326049 Mr. Fripp not deaf yet and Mr. Wilson even better. As for JVC releases, Robert Fripp's Discipline is Copyright holder. He can provide original MT or good copies of it to do K2HD mastering, but problem is, JVC don't want mess with those tapes. They want quick job like they use to do for last 15 years, I'm watching them - all reviews on their recent Platinum releases with "K2HD mastering" are negative. It doesn't bother them; they so proud of their K2HD tech; they're so convinced that their K2HD is "silver bullet", that it's easy for them to convince the others. However, when they do real job from OMT, they put name of Mastering Engineer on the back of the cover: I bet, you'll never find any credit info on the Crimson new K2HD mastering. Another point, Robert Fripp wouldn't start real new mastering now, while he didn't finish 40th Ann. catalog yet. If it's real job, he wants to be a part of it. Nevertheless, good news is: HQCD+K2HD release would not sound worse than HQCD one. Different thing is the new recordings. Sometimes JVC get involved into them. I'm very interested in K2HD been applied to new recording: mentioned Crimson Radical Action 2015 World Tour. I already ordered 2HQCD+Blu-ray Triple (E-type) Mini LP version with K2HD mastering - will report it after Aug. 31. So far, and Robert Fripp and Steven Wilson are leaders of the providing us with the best possible releases - and physically, and sound-wise, as well.
