I just wanted to comment on this one. I borrowed this from a friend. Curious as to how it compared to Steve's versions. I recall some saying it was just as good or better, and from what I've compared so far... I was a little dissapointed. I've only compared the Strange Days album so far. But anyway the bass on the dcc version is a lot better, bigger, fuller, warmer etc. Cymbols and vocals just sounded more real and natural. I'm sure part of all this is Steve's wizardry and tube equipment. I was just surprised.....I didn't expect this much of a difference, because I've heard DCC fans rave about the boxed set. One strength the box set posesses is dynamics. Anyway, I'm glad I didn't buy the box set. -Wes
The UK issues out now mirror the new box set versions. Although I haven't examined the box, they say they're mastered by or at Bernie Grundman's house of pankakes. At least you don't HAVE to buy the box to experiment.
I noticed Bernie Grundman's name on a few 90's Prince releases I have, and they are mastered REALLY hot, particularly the Crystal Ball set (BTW, if you're not a big Prince fan, it's not really worth getting, and even then, much of it may prove to be disappointing). I loaded up "The Most Beautiful Girl In The World" from Gold Experience on to my computer, and it looks really, really bad: just way too much. I always had the impression he was one of the better mastering engineers out there until I got these discs. It may not be him, though, just his mastering company, but still... Anyone else have similar experiences with his company's work?
Be aware in general (as it may be totally obvious) I call it Bernie's House of Pancakes because Bernie may have his name there, but 90% of the time, because of the numerous projects that come sailing though his office, someone else is doing it. If you had any experience with the Classic Records vinyl (most of the 45RPMs) his name is on the laquer, and that's HIM. He has strict and insane attention to detail. I have high respect for Bernie. I'm afraid the whole world is mastering off the Sonic Solution desk and software (or similar) and the way high-bit transfers translate in and out, you get your steak too well done as apposed to medium rare, no matter what. Yes, the waveforms become so busy and over-modulated, that it's a miricle any DAC can make "hot" masterings sound natural at all. Sadly, everything's made with modern "Best Buy" equipment playback in mind. Often, the product isn't cared for, just released with haste. I'll say one thing though, it's not all reissues and a lot of Jazz issues Sony, Verve (PGD) and BMG have released in 20-24 bit downsampled is very good. At least I haven't gotten a headache yet. It's when you drop a NOS record like a six-eye Columbia down on the turntable you notice such a sweet difference. I was listening to "Ella And Louis" 24-bit Verve CD JPN issue, and on tube equipment, it sounds too real for a 1950's mono recording. Be selective when you buy, and the more time you spend listening, you'll be suprised where and how the better magic comes forth. Nothing is guaranteed in life. Recordin collecting carries with it an education. Even some NOS vinyl isn't perfect either.
More importantly, grab all of Steve's Doors issues. I have them all (CD only). I doubt anything ever will beat them in a million years... especially the debut. This is why I never thought of getting the box. "The Doors" on DCC is something many people are going to talk about many years from now.
Personally, I'm still waiting for the long-delayed DCC Gold reissue of The Soft Parade to reach my local record outlets. How about giving us a street date on this one, Steve?
