Discussion in 'Music Corner' started by salleno, Feb 8, 2008.
Thanks Steve. Helps me better understand what it is like to "be there"
Trust me, it's not really exciting "being there". One has to constantly "focus" and that's very tiring.
Sometimes it can be very stressful and the novelty of listening to something neat over and over again wears off after lunch...
I bet. I guess I meant more being in your brain. Ok, that sounds weird. But hopefully again, you know what I mean.
I guess I do. There is no certain "mindset" for me when I work. Just trying to get the job done. The pressure is always on (especially knowing that my stuff will cost at least double the price of the standard version out there). THAT'S pressure.
Let's not compare recipes here, OK? If you guys want to do that on your own, fine but please start a new thread. Thanks.
Ok, sorry. I will try to find someone else here to answer my question. I did not mean "how do you do what you do?", but is your job different than theirs was? I assume it is as there are no SH in dead wax... A stupid question I guess, my bad...I'll move along now...
When you do a CD and LP Remaster, do you cut both form analog or do you use te digital emaser for LP?
To dovetail on this a bit, did you listen to the Rickie Lee Jones MFSL before your new mastering? How did the master tapes sound? Can't wait until it's released!!!!!!! Thanks.
Tapes sounded great, of course. It's an audiophile fave from way back... Tough to master because it's so dynamic. I think our version will be the first to leave the limiter out of the mastering circuit..
The jacket on the Pure Pleasure Nat Cole "After Midnight" gives credit to Ron McMaster - what role did he have with the project? Were the tapes in good shape? Did Kraus do that one originally?
Ron got it all together for us. Nice guy. Don't know who the original engineer was (forgot, actually).
Analog always. What would be the point doing a digitally mastered LP if the analog tape is in existence? Who would want to hear that?
I agree, but I guess EMI thinks so!!!
One of my absolute favorite DCC titles is Dion's THE RETURN OF THE WANDERER (cover art excluded ). Not just a wonderful sounding
disc, but a fantastic album as well!
Were than any particular challenges associated with the mastering, and did you ever get any feedback from Dion about the release?
Steve, in the past when you had mentioned how complicated this project was, I assumed you were just referring to the research into finding the original masters, and securing the correct playback machines for each tape. Until I read your reply, I hadn't realized that the rest of the process was so much more complex than remastering a non-compilation album. Thanks for going the extra mile (uh...10,000 miles) to do it the right way... and thanks for explaining the process in a way that we can understand.
Steve - what were your mastering EQ choices for Nat King Cole Sings for Two in Love?
Flat transfer from baked tapes. Dion LOVED IT!
Just trying to make the best sounding LPs I could..
Unissued album... No notes.
I suddenly got an image of someone working at the Capitol Records building finding a mysterious 23 1/2 floor and going through a hole in the wall behind a filing cabinet. They come out the other side in the mind of Steve Hoffman as he masters some Nat King Cole project.
Being Steve Hoffman.
Its interesting to me though to understand someone's thinking who is a master at their craft. Hey, if I had a chance to sit down wih Daniel Day Lewis and get him to share a bit of what his motivation, thinking etc is I find that vey interesting and even helpful.A differnt angle on things I guess.Probably not the most comfortable thing for a person to share.But kind of neat to me
I just commented on that very CD a day or two ago. I got it from BMG or Columbia House, I cant remember exactly. And thought the very same thing. In fact I think I even said it in my post. It sounded better than most modern recordings. At the time I didn't even know who Steve Hoffman was. Not too long after discovering this forum this disc was mentioned, giving which numbers to look for and what not. Sure enough. It was the one I have. I still don't understand why Steve isn't in demand by record labels or artists or whoever it is wanting the best possible digital transfer. I'm assuming that because I think there should be way more Hoffman mastered discs available than there are. I know very little about the record industry per-say, so I'm assuming it has something to do with legal rights or who would profit from those releases. Just a guess. If the only issue record companies cared about was sound quality, I'm sure we'd see very little of Steve in this forum. He wouldn't have time to answer questions. But I think it's cool that he does!
Steve can a live recording be more difficult to get the sound you are looking for than a studio one?
Not for me. That's a question for a recording or mixing engineer.
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