DCC Archive Time, Quality, Money

Discussion in 'Music Corner' started by Doug Hess Jr., Nov 7, 2001.

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  1. Doug Hess Jr.

    Doug Hess Jr. Senior Member Thread Starter

    Location:
    Belpre, Ohio
    Steve,
    Realizing the best stuff you do would be the DCC Vinyl and Gold CD's, what about the Razor & Tie stuff. Certainly not to discount any work that you do, but some companies may not give you the time to do the "deluxe wash with under carriage spray and wax" like DCC does. You might only get to do the "basic wash and wax". I guess what I am really asking is do you master everything at the same level as the DCC Gold-- demand only first generation tapes, etc. or when working for another company do you take whatever tape they give you and make the best of it?
    Dough
     
    Doug Hess Jr., Nov 7, 2001
    #1
  2. lukpac

    lukpac Senior Member

    Location:
    Milwaukee, WI
    Well, keep in mind that the first generation policy applies only to gold CDs - some of the aluminum stuff, in particular various artists stuff (Rock Of The 70s) was done from copy tapes.

    Maybe Steve won't spend quite the time he does on the gold discs (I don't know), but the fact that he's doing it at all is something big...
     
    lukpac, Nov 7, 2001
    #2
  3. Steve Hoffman

    Steve Hoffman Your host Your Host

    Location:
    Los Angeles
    Originally posted by Dough:
    "I guess what I am really asking is do you master everything at the same level as the DCC Gold-- demand only first generation tapes, etc. or when working for another company do you take whatever tape they give you and make the best of it?"
    --------------------------------------------

    Doug, I never use "whatever tape they give me". I always request exactly what I want. Whether they send me the original, or I get a DAT or an analog safety, it's always the version that I request. Never had a problem, but I've had to send stuff back many times before I received the correct version...

    One quick example: The Razor & Tie "Don Covay & The Goodtimes" CD. Cliff and Mike gave me about two weeks to master it. A DAT was sent to me from Razor & Tie that they had received from Atlantic. Atlantic got some of it right, but some of the mono stuff was an obvious "echo'd" dub. No way I'm going to use those---Don Covay deserved better. So, I got an extension (they held back the release date), and I got Atlantic to do some more research. Rather than waste time, they just sent me a big pile of original tapes to go through, mono and stereo. Took about a week, but I did the mastering and that was it. It came out great, something to be proud of, and I could sleep at night. I just wanted to do right by the artist, ya know? Razor & Tie were always very good about that; allowing me my time. Geez, I didn't do those CD's to get rich. I didn't get paid extra on the Don Covay, nor would I have demanded it. I just did it to help the music and the artist, or their kids.

    Heck, Razor & Tie even let me pick some songs for The Beach Boys disc....That's how "Little Saint Nick" got on there! Neat folks.
     
    Steve Hoffman, Nov 8, 2001
    #3
  4. Doug Hess Jr.

    Doug Hess Jr. Senior Member Thread Starter

    Location:
    Belpre, Ohio
    Steve,
    I know you have a MSLE (Minimum Steve Level of Excellence) and just like in the radio business I'm in-- we're not in it to get rich, but I just wondered about projects other than DCC simply due to time, etc. The question came to my mind because of just the type of thing that happened in your example of getting a DAT and was not the "right" tape to use--but some companies might not have given you that extra time.
    I guess it would be just like sending back the wrong tape, if the company wasn't as nice as Razor & Tie, you would just send back their request letter to work for them.
    Thanks and keep up the good work.
     
    Doug Hess Jr., Nov 8, 2001
    #4
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