Mastering, hier ist das John Koenig Zitat, das ich meinte, von hier,
„(…) all of the mastering moves on all of Contemporary’s records were carefully recorded in mastering notes every time a lacquer was recut. I recut several of them myself up to 1980, when we had to move the company and shut down our studio and I wrote a detailed roadmap of what I did –every eq or level move (or any other devices that may have been utilized) — for every lacquer that was processed. So if Fantasy had cared to follow those notes (some of which changed a little over time, as the equipment improved (viz your accurate observation regarding the frequency response of the early stereo cutting heads). Also, reverb on Contemporary’s recordings was accomplished with mono EMT plate during mastering — something Roy always advocated should be improved. But by the ’80s, most mastering studios did not add reverb during mastering at all and Fantasy was no exception. So, in general, the Fantasy reissues sound dry and tinny because of the lack of reverb and the failure to realize or compensate for the fact that the high end was pre-emphasized. And, in general, the Fantasy masterings lacked the musicality of the lacquers we cut because in addition to having referenced the tape machines as the recordings were intended to be played back and adding judicious reverb, we were making moves to compensate for peccadilloes on the original recordings, which were, after all, recorded live and seat-of-the pants. .“ – John Koenig, November 30, 2011
Elmo Hope – High Hope
hier hab ich allerdings auch nur die Gambit 4CD…
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