Atlantic 40th Anniversary CD - 1958 - 1977

That's a keeper! Got that one years ago.

 

I bought a used copy of this Cd a month or so ago based on Steve's off hand positive comments in an earlier thread about something else. I was not disappointed.

 

Gary,

Good find indeed! You may also wish to keep an eye out for the Atlantic Rhythm And Blues 1947-1974 series that Bob Porter did. I believe Steve commented positively on this 7 volume series IIRC! Nice FLAT transfers! Another would be: Classic Rock 1966-1988...yep Bob Porter again!The number is 7 81908-2(it came just one number BEFORE the compilation you just got!).

Happy Hunting!!!

 

I've had the CD since it came out in the late 80s, along with the Atlantic Black Singles 1977-1988 CD produced by Sylvia Rhone.

They sound like honest, flat transfers to me.

Not to change the subject, but this one relates. Recently, I listened to volume seven of Atlantic's Rhythm & Blues CD made back in 1987. It was the first time I had played the disc on my current set up and never realized until now how good a job Atlantic really did on a lot of those CD compilations back the. Just thread up the tape and transfer to digital...

 

That's one of my favorite discs! It does bring up a question. Which do you prefer, the fading Pick Up The Pieces or the version that ends cold?

 

Grant,

I use the box set for as many of the Atlantic R & B hits as I can in my recordings--great sound!

Bob

 

Well, the faded version is the single edit and the cold ending one is the LP version. They both have their place and I like them both.

 

You do know that they switched some mono to stereo in the 90s when preparing them for the boxed set version...

I use mono in my compilations so I tend not to use those CDs, except for volume seven, which is all 70s stereo anyway...

 

Grant,

I was not aware of that. I know that I really like the sound on that set.

Bob

 

Bob,

I have the first CD versions of this fine collection, which were all sold individually. The older CDs have more hiss than many tracks on the box.

I like listening to older Atlantic CD compilations to remind myself of where the industry was back then. Believe it or not, those older CDs sound better with better equipment.

 

Grant,

No arguement from me! In preparation for my recording project, last night was listening to CD's from my collection for the period 1954 through 1959. Some of the best sounding were CD's mastered in the late 80's and early 90's before "modern" mastering practices were so in vogue.

I listened to both comps and single artist CD's that I have not listened to in some time and most sounded very good. There were exceptions where the mastering or source used was obviously, inferior. For my project, I have decided to purchase the Stax/Volt box set. As I recall, many Forum members recommend it.

Bob

 

I've had this box since it came out. You won't be sorry! I think it is perhaps Bill Inglot's best remastering project ever! That box remains the definitive sound of those singles.

The best part is that those nine discs are listanable all the way through...well, maybe not "Sunday Jealous"...

 

Heh! Actually, I was surprised by this when I started experimenting with better interconnects years ago. Sure, better gear shows up flaws but if the remastering and source are good, it will also show up. Bad equipment will make bad CDs sound much worse. So, I could surely post that on the ICE forum, but if I did that would put me in a very advisarial position with those guys. What? Me be advisarial?

Yeah, i'll suggest that.

 

I'm about to find out!

 

Well go there later and find out for yourself!
http://www.icemagazine.com:8080/~2

Naaa! Thanks, though!

 

Bob, the Stax/Volt box can be found very cheap on Ebay!

 

RDK,

Thanks for the tip!

Bob

 

One thing, Steve, all,

John, a poster on the ICE forum, made the observation that the group here is a bit more interested in the nitty-gritty of the sound, where much of the ICE forum is geared more for the music lover, many of whom do not consider themselves audiophiles.

Having said that, many people get accustomed to hearing "hyped" sound. It takes effort for some people to readjust their hearing to flat (no EQ, compression) playback. Many just can't live without "hyped" sound, even if it greatly distorts what they hear. Well, some audiophiles fall into that description as well. What does this have toi do with older CDs? After being used to less than stellar equipment and maximized CDs, it may be hard for some to hear the qualities of those CDs.

There are times when I still prefer newer remasters. I also say that sometimes, boosting the level a bit using those maximization techniques may not adversly harm the sound on some music, even though that view flies in the face of everything many of us here stand for.

I DO maximize from time to time, but since this forum, I have slowly been backing off on the practice, even when making CDs for others that want louder sound.

Since both sites have a lot of great people with tons of information to share, I encourage more cross-pollenization.


Sorry Gary, I didn't mean to alter the thread, but I don't think you will mind too much, since this issue affects the mastering issue.

 

Grant,

I would assert that members here want their recordings to sound more "musical". In other words, I do not agree with John's ascertain about what drives this Forum and it's members. Perhaps the ICE Forum is more concerned about recordings sounding "hot" on sonically inferior audio systems or at low playback levels. Perhaps, the sound of recordings, generally, is just not as important there as the availability of recordings.

Your observations about mastering appear to be on target. Ironically, all one has to do with a properly mastered CD to make it sound "hot" during playback is turn up the volume (try any DCC Gold disc, as an example). Listening to a highly dynamic recording at higher listening levels is what makes recordings highly musical as a listening experience. Turn up the volume on a maximized disc and what you hear is a wall of over-compressed noise.

Thanks for your apology but, this Gary's thread!

Bob

 

Uh, I fixed that. To late for yout reply, though!

There is ONE word I really hate the use of, though, is "musical". Define that word in audio terms.

 

Grant,

I saw where you fixed that!

Musical=more like the sound of live music or, in other words, with more life- like dynamic range, tonal qualities, harmonics, color, layers, textures. etc. That is the way I understand the term--musical. A maximized or highly additionally compressed recording sounds less "musical" and more like just recorded sounds made to be heard a certain way at a certain volume.

That is the best I can explain the term musical. Subjective but, we all enjoy well-mastered recordings!

Bob