modern mastering will mean that the amplitude has been
raised between 6 and 9 dB or so over the peak 0
Ours was very much a contemporary approach and although you
might be right about the mastering in 6-9 dB territory. You
also have to understand the process chains in mixing the
record. This was not a simple noise floor to deal with and
louder to us does not mean better, just means louder.
Utilizing modern technology was certainly handy, however I
think you will find the full dynamic range intact especially
in the vocals and the bottom end. Nothing has been added and
nothing has been panned in any place it was never
dynamic range" after mastering 6-9 dB over the limit doesn't
sound possible, but let's take a closer look using a modern
M&S: I hope you had the opportunity to
use the stereo tape of Love Me Tender (Aug. 24, 1956) since
the dynamic range appears to be a little better on that.
"Love Me Tender" we worked on was not the one
mentioned. However, after multiple hours of figuring
out the wow and flutter, we settled on an extremely balanced
and diverse mix. There was a problem with the original
taping but using the technology we had we were able to make
this baby sit down. It is a great performance and vocal take
and I think you will be happy with the results.
source of Love Me Tender is unfortunately the flat
and hissy mono tape and there certainly was a problem with
the original taping. A little research might have avoided
use of this inferior source and maybe some of the extra
work. The restoration job as such is better than expected.
The hiss reduction is well done considering the source, but what a
waste of studio time.
asked about the overall processing on E1:
brought out the air in the top and the bottom end by using
by using analog eq API and Neve 1081, 1082 four band
eq. The vocals were mostly suited to Massenberg stereo eq,
Neve compressors and Lang tube, LA2a and LA3a tube
compressors - always using a lite approach without squishing
it all down.
Without being familiar
with the equipment mentioned, a quick Internet search
implies that at least some of the units were semi-vintage
equipment that is being manufactured again these days.
seems some of the right decisions were taken when
remastering the three 60's soundtrack masters for E1 and yet
the result isn't quite what one would have hoped for. They
still sound sharp and flat. It's interesting that an outtake
of Can't Help Falling in Love (take 26) recently
was released on BMG's 'Today, Tomorrow and Forever' box,
that the same hiss problems were encountered and solved in a
similar way (i.e. de-esser at 10.5 kHz on TTAF, 12kHz on
E1). The job done on the TTAF outtake is in fact considered
a little better.
Next up is probably the best sounding
remaster on this release, In the Ghetto. Like on
Crying in the Chapel, the compression
has increased the vocal presence without adding any unwanted
effects. Again, it's the sparse instrumentation that makes this approach
work here. It wouldn't be possible to get the same results with a full
band/orchestra such as on the
louder American Sound recordings. In other words, this would be well suited for a
single release rather than on a Memphis Sessions anthology. Suspicious Minds, on the other hand, has
several unwanted effects. The song is mastered far too loud. Nearly every peak is
clipped and then we have the
overdubbed brass causing flanging artifacts of other
commented this restoration before it was released and the following
home-made stereo mix inserting mono vocals and doubled instruments of
the soundtrack version of Frankie
and Johnny was prepared for this review to illustrate this
kind of inevitable flanging problem when combining the same instrumental
track from two analogue sources.
Remember on "Suspicious Minds" there were no horns on
and "It's Now or Never"had no piano on the master. Both
tracks have been repaired and are restored to their original overdubbed form... It took me FOUR DAYS!