Discussion in 'LFF Remasters' started by purr1n, Jul 17, 2017.
We'll try to take care of everyone. Thinking...
Agreed. I know I am often disappointed with poorly mastered music but no one ever really talks about it. I guess it has been a bit of an elephant just sitting there.
I did not mean my post as some sort of dig at people here. I'm used to seeing albums referred to as "Artist - Title" even when the sound could vary from bad to excellent, depending on the release. I am getting a kick out of seeing all of the enthusiasm for LFF's remasters.
The recent crop of Sean Magee Rush remasters sound pretty spectacular, with a few exceptions. The John Cuniberti remastering of Joe Satriani's catalog is pretty great too. Luis is new on my radar, and I'd like to check his work out.
You are quicker than I was to figure this out. I remember in the mid-1990s thinking something was wrong when I was listening to new CDs. I didn't have internet and never heard of brickwalling, etc. It took me quite a while to get a handle on what exactly was making me unhappy.
I was in Japan, stationed at a Marine air base,when I picked up the Billy Idol rebel yell remaster around 2001. The horrible sound quality of that release caused me to do a lot of comparative listening on a lot of different albums, which eventually led me to recording school. And while I'm not currently a recording engineer, I did my share of recording and mixing my own stuff; more importantly, it fundamentally changed the way that I listened to music
I'm in, if it's still possible.
The dynamic range issue is one of the biggest things these days. You bring up a good point ... already "decent" recordings like MJ's Thriller. My issue with that album are very nit picky. I hate how some instruments and his voice don't sound natural. There are some bad edits (tons of them on Bad), and there is what Steve Hoffman calls "the breath of life". I need my music to sound natural and there is only ONE CD which is available in retail stores that sounds completely natural. Everything else usually needs a little (or HUGE) push in the right direction. Sometimes it's the soundstage too. Sometimes it's imaging. It really depends and it's on a case by case basis.
Sinatra-Jobim is a title that gets a lot of audiophile love and I can't tell you how crazy it drove me to hear a bad tape splice on the first track. My version doesn't have the audible error. Things like that, which 99% of people don't notice. Comes with OCD.
You can't just casually drop this line and then not mention what the CD is!!
No kidding. I feel like this just happened:
I'm having difficulty finding the Rachel Rising music.
Thanks for all the interest guys. I'm quite flattered. I thought people would never be willing to pay for any of my work...cheap or not.
That said, don't forget about my hall of fame audio engineers - the people I admire and look up to:
Prof. Keith Johnson
Ron Furmanek when directing Bob Norberg
and actual, good labels who try their best for great releases, even if they mess up from time to time....
Chesky Records, MFSL (MoFi), DCC, Audio Fidelity, Classic Records, Reference Recordings, Sony Gold Mastersound, Sheffield Labs, Original Jazz Classics (OJC), Analogue Productions, and Groove Note. Keep in mind that these are guidelines and don't always guarantee a holy grail reference but in general, they are safe bets 90% of the time be it on CD, Vinyl, HDAD, SACD, etc.
Things mastered only by Bob Norberg (sans Ron Furmanek)
Looks like I'm late to the party. I would love any scraps left over. A good test CD would be great!
Have to assume it's this: https://itunes.apple.com/gb/album/rachel-rising/id1094589212
Now that I can sell...
If there is enough interest, I can make a test CD for you guys. Don't blame me when you find out your gear sucks more that you thought.
It would be 100% original material.
That's the one but wait for the FLAC version. I've PM'd the artist for a direct link.
Given the past few days, doubt there's any question about that!
I would love that! My gear can't be that bad right? right? (Puts everything up for sale...)
If we can buy FLAC copies in the future, I would likely be interested in that.
I'm not sure if LFF anticipated that there would be this much interest? So I suspect this might all be a bit overwhelming. I'd love to be a customer myself but I also recognize that there has to be a business case for LFF. If he were inclined I'd suggest setting something up where the "buy-in" is a bit more significant. For example, if he came up with a list of 50 remastered CD's (based on expressions of interest) from which you could choose any 10 for $200 or say any 15 for $300 this MAY make sense. Just throwing this out there
Edited to add that I put in those dollar values arbitrarily based on the fact that "SO" was listed for $20. I recognize that different remasters may command different prices.
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