|
Post by gobshite on May 22, 2019 21:01:05 GMT
|
|
|
Post by Boozin' Susan on May 22, 2019 22:40:48 GMT
His cluelessness can often be quite precious.
|
|
|
Post by gobshite on May 22, 2019 22:46:07 GMT
Exactly. He really is one of the least offensive SHites, but what can you say to that?
|
|
|
Post by gobshite on May 24, 2019 18:27:11 GMT
Same thread 3 days later. tootull Gnurt
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on May 24, 2019 19:57:27 GMT
He is, if anything, consistent in his idiocy.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on May 25, 2019 2:13:29 GMT
Gnrat:
MikeManaic61:
rnatG:
|
|
|
Post by Brick Wall on May 25, 2019 14:26:21 GMT
Nope. As I recall the Quincy Jones title was going to be by Kevin Gray, as were almost all the last ones up to the dismantling of the P.O. box on the vacant lot. Your fucking Host's last project was way before that. It looked like even Marsha had finally had enough of the asshole.
|
|
|
Post by Boozin' Susan on May 25, 2019 19:42:35 GMT
Nope. As I recall the Quincy Jones title was going to be by Kevin Gray, as were almost all the last ones up to the dismantling of the P.O. box on the vacant lot. Your fucking Host's last project was way before that. It looked like even Marsha had finally had enough of the asshole. I wonder if the Bob Ezrin flap was the point when Marsha realized STeVE wasn’t worth the hassle. Those self-serving “Adventures in Masturbating” threads got axed (due to Marsha’s insistence), and (IIRC) STeVE didn’t get any high-profile projects afterwards. Update: Because it was so much fun to read Bob Ezrin tearing STeVE a new one, here are some highlights: Steve, I have to say I'm a little surprised to read this description of our work. We were judicious about lining up our machines to our set standard and the techs at the Record Plant were the best in the business (having all been graduates of A&R Studios). The only discrepancies should have been between the original album and any "bonus" material that someone may have added later. Also if our cross fades had been moved to the back of the reel, that was something that I'd bet the label would have done when we got to the era of iTunes. Are these in fact the real original tapes? I'd love to see those tape boxes - so maybe you'd be so good as to put up some pics of them. I'd really appreciate it. I'll keep watching here to see if that happens. And finally, I wonder why no one bothered to contact any of the creators of that stuff before doing this. It's not like we're that tough to find. I'm just saying. Bob Ezrin One more thing: the way we made records, the mastering was an integral part of the process. No one took our stuff and reinterpreted it for purposes of mastering. What was mastered back then is what we wanted to hear. Regardless of your take on the quality of the sound of the original album, that IS what we were going for and that's the sound that any true fan ought to be looking for. What you seem to be doing is re-imagining our work using interim stage components. The EQ'd master was the final stage of production for me. I was in the room, hands on knobs, throughout that process in order to get what I wanted to hear on the vinyl as best we could given the limitations of that medium. I'm not opposed to re-mastering early works. But I think it's important to try to maintain the intent of the creators in the process. As the head creator of that album, I have to say that reading this report makes me somewhat skeptical about what you guys did there. I'd be happy to listen to the results and give you feedback if you would be open to that. Bob Ezrin Bob, funny, Stephen Marsh and I were both singing your praises yesterday. Were your ears burning? Regarding your note, we are not reissuing anything on vinyl, there are NO limitations, no need to compress or to filter bass or top end. You understand that this is no compromise Hi-Rez DSD via SACD. Can this be the first time in 31 years of doing this that a producer doesn't want their work to sound the best that it can? I am sure that is not what you want. After all, this is the fourth Alice Cooper digital reissue we've done and by far the best sounding. Bob, we don't use EQ'd dubs, we only use true masters and meticulously work on them to sound the best, just as I've been doing since 1982 on thousands of reissues. We always spend hours getting the crucial vintage Dolby A gear aligned and we always spend many hours fixing splices, etc., part of the job on 40 year old tapes. The sound you'll hear on this new SACD is the sound YOU produced. We didn't tamper with anything, we never do. We don't revise history, we don't change history, we just let the original mixes shine through as always, without added needless limiting/compression or ANY "modern" tampering. This will be the first Audiophile release of this album and we're proud of the way it came out. I talk about the process here to drum up some interest in the release just as I've been doing on everything I reissue, from McCartney, Dylan to Nat King Cole. Just contact me via PM and I'll have the studio send you a CD check disk, my treat. I'm sure you'll be happy with the sound. after all, it's the sound that you created. Steve, you're missing my point. Based on what I read here, I'm not sure what master you're working off of. Our album had crossfades (the "crossfade outtakes" referred to on the box are the left over tops and tails that we would edit out when we edited in our crossfades). If you have a tape that is missing the cross-fades then it's a later generation than our master. If there are different tone levels on mixes then those are mixes from different places. Our album was mixed at the Record Plant in Studio A - always on the same machine, always with the same tones. The EQ master is the closest thing to what we wanted our album to sound like in the end. I don't expect you to use that. But I also don't expect you to dismiss it as not being the way we intended it. WE created it. So that's the closest expression of our vision at the time. Of course I want it to sound great. Of course I'd love to hear it without the limitations imposed by vinyl. But while you're making something that wants to be sounding the way WE intended, I'd just like to know that you're actually paying attention to OUR master and that you're actually working off of our final mixes. In the end, the easiest way to ensure that you're doing something that accurately reflects the intent of the creators would be to involve one of us in the process. As I said: we're not that hard to find. Finally, I do appreciate all the time and hard work that you're putting into this and I'm not trying to quash interest in the new product. I just got a little worried when I read your original post. Bob It would appear that Steve does not have the original master. Look, we used the original tapes, how many times do I have to post that pic? WB hates it when I post pics of their property but I'll do it again right now, for the last time. So Ezrin is lying? Re read his post. He is not lying, just a bit confused. Once again, you see the photo? Stop causing trouble. Bob and I have spoken. He told me one of Alice's super-fans flagged the posting for him because he was upset at the inference that his "precious BDB was less than perfect in its form." Since all 40 year old master tapes are usually messed up like this this is a non-issue. With this pointless stuff I have to reluctantly end any and all future AF "Adventures In Mastering" threads. This will be the last one. He wasn't definitive but raised serious questions that have yet to be answered. I really, really hope you don't end the 'Adventure In Mastering' threads. They are such a great read and very informative. Pat I've been told to end them, sad to say.
|
|
|
Post by GeddyLeePierce on May 25, 2019 23:04:11 GMT
The final nail in the coffin may have been 2015’s epic fuckup of the Sly & The Family Stone - Greatest Hits mono sackdee, whereby the 2-channel mono mix was noticeably off center on the initial releases.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on May 25, 2019 23:53:34 GMT
The final nail in the coffin may have been 2015’s epic fuckup of the Sly & The Family Stone - Greatest Hits mono sackdee, whereby the 2-channel mono mix was noticeably off center on the initial releases. I never really followed STeVe’s work until I discovered SC but it seems he had a lot more fuck ups than he did successes and yet the SHiTes follow him. Pathetic.
|
|
|
Post by mintyjackhole on May 26, 2019 0:25:12 GMT
Just as Gnrta feels like a relic of an bygone SHTV, in many ways so does Our Host. There are enough old school SHiTEs that will go to their grave thinking his work is the shizz, but there are many SHiTEs who only know STeVE as Our Host. Between many of the audiophools switching to vinyl, and the alt-right boomer circle jerks, STeVE's remasterbating career has ceased to be relevant to day to day conversations there. STeVE is definitely more known across the web for the forum than the trainwreck of his actual career.
|
|
|
Post by sₚⲁᵣₖydₒg on May 26, 2019 15:43:02 GMT
The final nail in the coffin may have been 2015’s epic fuckup of the Sly & The Family Stone - Greatest Hits mono sackdee, whereby the 2-channel mono mix was noticeably off center on the initial releases. Look, pal, you either just don't have the ears and/or expensive enough equipment. Maybe swap some cables.
|
|
|
Post by audiopro on May 26, 2019 15:47:56 GMT
Hours to line up a Dolby A unit? Somebody's been fiddling their timesheet.
|
|
|
Post by Brick Wall on May 26, 2019 19:17:47 GMT
A breakdown of projects toward the end of Audio Futility's lifespan, as I noted the obvious shift in assigned projects: Quincy Jones - The Dude / Kevin Gray Jeff Beck - Truth / DaddySpirit - Clear / Kevin Gray Scorpions - Best Of / DaddyEsquivel - Other Worlds Other Sounds / Kevin Gray Styx - Pieces Of Eight / Kevin Gray Asia - Alpha / Kevin Gray John McLaughlin, Al Di Meola, Paco De Lucia - PASSION GRACE & FIRE / Kevin Gray Weather Report - Heavy Weather / Kevin Gray Spirit - The Family That Plays Together / Daddy and Stephen MarshBlue Cheer - Vincebus Eruptum / Kevin Gray Spirit - Spirit / DaddyThe Byrds - Younger Than Yesterday / DaddyJohn Cafferty & The Beaver Brown Band - Eddie & The Cruisers (OST) / Kevin Gray Will Ackerman - Returning: Pieces for Guitar 1970-2004 / Kevin Gray Leon Russell - Leon Russell / Kevin Gray Grand Funk - All The Girls In The World Beware / Kevin Gray Grand Funk - Shinin' On / Kevin Gray Joe Cocker - Joe Cocker / Kevin Gray Rage Against The Machine - Evil Empire / Daddy and Stephen MarshReturn to Forever - Musicmagic / Kevin Gray Weather Report / Tale Spinnin' / Kevin Gray The survey says: Out of the 22 last-gasp titles, Marsha had scheduled 16 for Kevin Gray. Four were assigned to STEVE. As the final degrading insult, two of them were given to both Daddy and Stephen Marsh.
|
|
Flat Transfer
Terry Kath
Providing DR numbers for the EK 34188, DIDP 20006
Posts: 484
|
Post by Flat Transfer on May 26, 2019 21:04:46 GMT
No, I seem to remember Clear Spirit required some real technical expertise to salvage the tape alignment issues on the digital file they got from Sony, so that's why Marsh had to be co-credited.
When it's not just a matter of adding the famous 10 layers of tube murk and the breath of death(c) EQ curve, the brilliant tonmeister/musicologist is helpless like a rich man's child.
|
|