100% analog records.

Merci for the correction

 

Before you start using phrases like “two dimensional sounding”, to describe later OJC pressings, please check out Steve Hoffman’s post in the following thread from June 14, 2016. I would take his word:

OJC vinyl reissue question

 

Gentlemen of the jury, from the man of the mastering:




From: Philip De Lancie <[email protected]>
Sent: Dienstag, 13. März 2018 17:05
To:
Subject: Re: Original Jazz Classics vinyl reissues from the late '80s


I started at fantasy in 1986. At first, definitely analog, direct from the two track masters. At some point in the 90s we got our digital console but I believe that was mostly for CDs. There may have been some exceptions, but my recollection is that in most cases we continued to cut the vinyl analog. It's been a while, though. I left in 1999.

On 13 March 2018 1:26:42 am GMT-07:00, wrote:

Hi Phil,



Maybe you would be so kind as tell me this.

There is some controversy about this, and having a number of the OJC vinyl reissues you mastered back in the late ‘80s, I thought I’d just ask you.



Can you tell me, did you master those OJC jazz reissues back then digitally or all analogue? Ie., were the vinyl reissues digital mastering jobs or all analogue?



best regards,



Martin

 

Yes, Yes, Yes!!!!!!!!!

Guys, the OJCs, so far as is relevant, are all analog.

 

Thank you all for the great suggestions, I will give you followup in the near future. I'll be on the hunt for all of your great suggestions!

Recently I discussed this issue with an old time jazz master who listens to great jazz doesn't play any longer, and some more modern AAA pressings.

This is somewhat related but should be of interest.
I quote." To get the most realistic live sound is from AAA vinyl, all tube equip. and MOVING MAGNET cartridges!

I use Cary Class A amps, their phono tube pre amp and ortofon RED moving coil cartridge. Can moving magnets make a difference? Does anyone share this philosophy?

Any thoughts on "moving magnets" vs moving coils sounding more life like with all Class A tube equip?

Tom

 

If you use a tube buffer or pre-amp I would think that the power amp design, e.g. A or A/B would be less significant. Class D I really wouldn't be sure.

 

I found the Paul Rodgers The Royal Sessions to be totally soulless (no pun intended). Must play it again to see if I have changed my mind.

JG

 

I think I saw your post (or someone posted a similar sentiment) and I almost passed on buying it but I am a fan of his so I pulled the trigger. Of course each system will vary but I didn't get the same feelings as I listened on my gear. It sounded a bit dull in spots but the overall feel of the album was correct in what I look for from AAA productions.

 

I am talking more about the performance than the analog sound.

JG

 

James -- Just to confirm, you mean the OJCs from the 80s are all analog, correct? Not the recent reissues? I have both versions of the OJC Waltz for Debby (don't ask....) and the difference is discernible to me, at least when playing them back to back. The 80s cut is more natural and open sounding.

 

Yes, it is all the '80s cuts that are all analog.
the recent reissues, so far as I know were all done 44.1/16 digital.......

What was news to me was that Phil confirmed that his cuts are all analog. Despite the "Digitally mastered by Phil De Lancie...." on the back of the record jackets....

 

He's not quite as assertive as you are :

"At some point in the 90s we got our digital console but I believe that was mostly for CDs. There may have been some exceptions, but my recollection is that in most cases we continued to cut the vinyl analog. It's been a while, though. I left in 1999."

 

More from Phil de Lancie....

 

From: Philip De Lancie <[email protected]>
Sent: Donnerstag, 15. März 2018 07:03
To: Martin
Subject: Re: Original Jazz Classics vinyl reissues from the late '80s


Hi Martin. I didn’t know all that. It’s very nice to hear.

That work was a "labor of love”; I did my best to make each record sound as good as possible (at least to me) given the quality of the masters. We worked with Sontec parametric EQs and EMT compressors, and of course a Neumann lathe.

The source masters for the RVG recordings were generally excellent, as were others such as Contemporary Records. When the recording already sounded good then the EQ and compression for mastering could be subtle, just bringing out a bit of detail here and there. But some of the other material could be more challenging; the masters that had been mixed down in the early days of multitracks — late 60s and early 70s — were often much less clear than the sessions recorded years earlier going direct to two-track (late 50s - early 60s).

It is so nice to hear that those OJC versions are still giving listenters much pleasure. Thank you.

best,

Philip De Lancie
[email protected]

 

Just buy records from the '50s,'60s & '70s, better music too

 

Not much help if you're not one to listen to the same old stuff all your life.

 

This is a cool email, thanks for sharing it.

 

That’s great! Thanks for sharing. He cut some really nice OJC reissues.

 

Boooooring

 

You want pure analogue from 2016? Try this... I have a copy and it sounds great.... Unfortunately, it's multi-miked (necessary because these records are of live performances):

 

where can i purchase this beautiful request?
tom

 

I don't understand your question... "beautiful request"??? Did you mean "beautiful set"????

 

sorry for the typo.

i meant this beautiful box set, or single aaa vinyl recording,
is it for sale?
tom