SH Spotlight I'm asked stuff: Favorite mastering engineer, best BOSTON CD, best TRAVELING WILBURYS CD, etc..

@Steve Hoffman

I often hear that most modern rock releases (say 1990's forward) are wrecked in the mixing stage and so there is no point in audiophile labels releasing them. Is this true? And if it is for most recordings, aren't there still plenty with good mixes that could be done? I really like what you did with the two Rage Against The Machine releases for Audio Fidelity, and was sooooooooo looking forward to hearing "The Battle Of Los Angeles".

 

I believe it would have been definitive. Oh, well.
Thanks, Steve.

 

Was that for DCC or Audio Fidelity? Those would have sold by the bucket loads.

 

"Pipeline" by the Chantays on the first version of "Surf Legends and Rumours" sounds INCREDIBLE, thank you - why did it disappear from the later pressing(s)?

 

Is The Band (brown album) still your favourite album (or one of your favourites?)

 

Brilliant understated response.

 

You play a few instruments.
Does that aid in your mastering/engineering projects?

 

I'm biased. I love the old Greatest Hits album.

 

Great songs is right. That would have been nice.

 

I was wondering how you think streaming and the changing CD market is going to effect the future of remastering projects, especially on independent or audiophile labels. I worked with Real Gone Music this year on a old Living Stereo Christmas album from John Klein, A Christmas Sound Spectacular, and if we had not hounded Sony Music for a couple of years, it probably would not have been remastered and released on CD this year in its original stereo incarnation for the very first time.

Whats scary to me is Sony Music was the one company that RGM had a really good track record with in the past, but this year they got real tight with their cooperation, so to speak. Universal Music, from my understanding, has always been harder to deal with on gaining copyright clearance for release to independent labels. Do you have any theories on what is going on with the majors new found stinginess, particularly in this day of shrinking CD sales?

 

Which mastering project was the one that you tweaked the most times
before you finally deemed it worthy of release?
The one that really got under your skin.

 

Is Dylan’s Greatest Hits vol 3 going to get the gold treatment any time soon?

 

Hey Steve, Thanks for all the great mastering work you do, for hosting this forum, and for this thread - such a cool idea. This is a great and unique place, and I know there are many who appreciate it.

 

Hi Steve, what is your preferred version of the following albums (a few of my all time favorites):

-Rolling Stones - Aftermath (UK)
-Led Zeppelin - Led Zeppelin 1
-Miles Davis - Kind of Blue
-The Doors - The Doors (DCC?)
-Beach Boys - Pet Sounds (DCC or AF?)

I know you may have given your opinion regarding these albums in the past, but opinions change.

Thanks!

 

Steve, I've read every single thread ever posted on SHF about this topic and I'm still confused.

So once and for all: In your expert opinion where should Astrud's voice CORRECTLY be on Getz/Gilberto? Left or right? Where is it on your Ampex 350-2 transfer? It's logical to assume that your CD-R has the proper channel orientation.

I'd really like to know the answer to this question before I die. Thanks in advance for your time!

 

Greatly appreciate your time Steve to even scan my message.

If you were pulling Stones vinyl to play are there some titles whereby you would specifically have an automatic go to pressing?