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Post by antiram on Oct 17, 2018 9:50:11 GMT
 Sucks to be Ozric. All the poor guy wants is Hoofer's version of Who's Next. The forum helpfully tells him he's gotta rip the CD and then tally up the total minutes. The Hoofer version should be five seconds longer than the good versions. (Why this is the case is never explained. Did Hoofer slow it down? Did he extend the silence between songs?) There appears to be no other way to determine Hoofer's thumbprint; simply examining a CD won't do it. There has even been a whole prior thread about this. As usual, some SHites have problems with even this. InStepWithTheStars, for example, has never seen a CD player that displays the total time on a CD... George B. boasts of his Canadian Hoffman pressing (nyah nyah, Ozric!) Turns out, Hoofer prefers the Japanese rendering of his masterwork. Ozric's CD finally arrives, and comes up 10 seconds short on time. No Hoofer masterwork here, alas. Some hack did the work. Back to the drawing board! kevin5brown decides to rain on George B's parade by telling him the Canadian pressing is not Hoofer's handiwork. The world's dullest conversation ensues (no wait, it isn't even one of the dullest on the forum, but in most universes it is boring AF) Most of the conversation consists of catalog numbers and arcane abbreviations... ("Can you identify what BOR CA SH and WGFA CA SH are?" "Baba O'Reilly Canadian "Steve Hoffman", Won't Get Fooled Again Canadian "Steve Hoffman"") 'natch! WGFA CA SH is one of my favorite songs! Maybe it is just me, but it feels like the board has degenerated into more and more of these pointless numbers-and-abbreviations threads in recent years. Where is the joy of music in all this? (I acknowledge that an overplayed record like Who's Next doesn't have a lot of joy left to give, but still...BOR CA SH still has that spine tingling synth sample) This is another case of them all acting like stamp collectors; not so much lulzy as just turgid and monotonous... forums.stevehoffman.tv/threads/whos-next-steve-hoffman-mastering.779846/ |
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Felonious Spunk
Grant
Digitals downstairs to push the anal logs upstairs
Posts: 1,192
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Post by Felonious Spunk on Oct 17, 2018 12:06:21 GMT
I would think the fact that it’s apparently impossible to tell the Hoofy Special by listening to it should indicated something to these people.
Also the constant abbreviation of every damn things drives me crazy. Makes me think of this:
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Flat Transfer
Terry Kath
Providing DR numbers for the EK 34188, DIDP 20006
Posts: 484
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Post by Flat Transfer on Oct 17, 2018 12:56:46 GMT
Couldn't care less about hearing anything from Who's Next ever again for as long as I live, but I would venture to say that the simplest test is that whichever version sounded shittiest has to be the Hoffman version. Just listen for the rolled off highs, the all-around boxy sound, the fuzzy distortion and, there you have it, a STeVE-endorsed hunk o' pap.
Not to mention the thousands of clipped samples. It has earned the distinctive honor of being the first brickwalled CD ever.
Thanks STEVE!  |
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Post by amygrant on Oct 17, 2018 21:32:23 GMT
I've heard his mastering of it. I grabbed it in a torrent a few years ago to see what a clusterfuck it was.
I remember him saying he did a flat transfer (I could be wrong).
It sounds like anything but a flat transfer. The thing is a piece of fucking shit.
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Post by audiobile on Oct 17, 2018 21:40:33 GMT
I have the Hoff version of Meaty Beaty Big and Bouncy on CD. I don't think I even knew who he was when I bought it, and only realized long afterward. It too sounds like shit. Then again, I thought all early Who sounded like shit until I got the Erick Labson remaster of My Generation, which sounds fucking fantastic.
Edit: I thought it was Shel Talmy who remastered this but it was his original tapes. My bad.
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Post by amygrant on Oct 17, 2018 21:45:43 GMT
I have the Hoff version of Meaty Beaty Big and Bouncy on CD. I don't think I even knew who he was when I bought it, and only realized long afterward. It too sounds like shit. Then again, I thought all early Who sounded like shit until I got the Erick Labson remaster of My Generation, which sounds fucking fantastic. Edit: I thought it was Shel Talmy who remastered this but it was his original tapes. My bad. I can only imagine what the 60s Who (with the compression etc) would sound like with his terrible mastering. Who's Next was bad enough. |
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bradman
Better than Steve
Posts: 5,151
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Post by bradman on Oct 17, 2018 23:32:49 GMT
Meaty Beaty is a mix of decent sounding stuff (The Seeker) and some bad juju(Pictures of Lily). Supposedly, this variance is due to the relative quality of the tapes he had to work with.
I have every mastering of Who's Next officially released, there isn't a bad one, imho. The desirability of the original MCA versions lies in the lack of remixing, as the later ones are partial remixes, the multis for some track are long missing. I don't find the Hoff or Canadian to be bad at all, probably the best of his shit I've heard.
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Post by audiobile on Oct 18, 2018 0:27:43 GMT
I can't find the Meaty Beaty disc with my other Who discs. My kid probably has it in his room. As I recall it says something like, "Compiled and mastered for CD by Steve Hoffman" or similar. If I can find it later I'll report back. Not that that answers your question COLA. Probably a staff engineer at MCA in this case.
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bradman
Better than Steve
Posts: 5,151
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Post by bradman on Oct 18, 2018 0:30:03 GMT
That's getting to my point, I don't think he did shit to those or the Steely Dans. The Nichols Dan CDs sound so much like Hoofs' I can't tell 'em apart.* The Non-Steve Canadian Who's Next sounds like a confirmed Hoof copy. The SHiTeiest SHiTes can't tell 'em apart, either, without running times or other vague obscura.
*Dismal confession, I have them all, and the remasters and the box set.
The Hoff Who's Missing is decent, as well, I should add. The tracks are very comparable to the Rarities vol.1 and 2 stuff. Again, what was the process with that, who knows. Tape compiler** is probably the more accurate descriptor.
I do like the Labson My Generation work, it is just a little too loud, like the Kinks deluxes from a few years' back.
**Thief added before assured pile-on.
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Deleted
Deleted Member
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Post by Deleted on Oct 18, 2018 12:14:41 GMT
Has Hoofy ever done anything “new,” meaning also worked on current new releases by artists or is it all just reissues? I find it funny that they kneel at the altar of STeVE who, to my knowledge, has actually done nothing be recreate someone else’s work while SHiTEs rip someone like Giles Martin who has worked on new work and reissues. I understand that original production teams may not always be available or want to even work on reissues, but I also think Guffman has done nothing more than try to paint the Mona Lisa using a paint by number kit.
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Post by Sanjay Gupton on Oct 18, 2018 12:18:34 GMT
I would think the fact that it’s apparently impossible to tell the Hoofy Special by listening to it should indicated something to these people. This. This right here. Unless something is really out of whack, the only thing I've ever noticed is that side by side, remasters sound different. Usually it's just because one is louder than the other, but this is all just splitting the thinnest of hairs. If someone doesn't tell them or show them the DR value then they don't know what their $500 power cord is doing for them. |
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Post by Sanjay Gupton on Oct 18, 2018 12:24:56 GMT
This guy is mostly annoying, but I have a feeling he has been getting comments from the SHiTe's about stuff that he knows just doesn't matter.
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Post by audiobile on Oct 18, 2018 13:31:35 GMT
I do like the Labson My Generation work, it is just a little too loud, like the Kinks deluxes from a few years' back.
It is loud, true. But damn, Pete's Rickenbacker SOUNDS like a Ric (e.g. Anyway, Anyhow, Anywhere). On Hoff's Meaty (ewww), there's no character to the guitars at all. Just mush. Anyway I'm OK with loud provided it sounds good. I don't hate loud for the sake of hating loud, unlike the SHites. |
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Post by audiobile on Oct 18, 2018 13:38:29 GMT
Has Hoofy ever done anything “new,” meaning also worked on current new releases by artists or is it all just reissues? I find it funny that they kneel at the altar of STeVE who, to my knowledge, has actually done nothing be recreate someone else’s work while SHiTEs rip someone like Giles Martin who has worked on new work and reissues. I understand that original production teams may not always be available or want to even work on reissues, but I also think Guffman has done nothing more than try to paint the Mona Lisa using a paint by number kit. The only "new" thing that comes to mind he's done is that Pugwash thing. Which I've never heard and don't care to. And yeah, the whole altar-of-STEVE thing is puzzling. The SHites, and STEVE himself, seem to feel that he has somehow "created" something, not necessarily music, but... I don't know what. All he is (and even this is up for debate) is a knob-twiddler. Not a creator of any kind, maybe not even a "mastering engineer". "EQ consultant" at best, or maybe just "compiler" of reissues. I wonder how it feels going through life pretending to be something you're not, and actually managing to pull a bunch of retards into your fantasy, over a period of years. At this point he probably believes the hype himself. |
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Post by Brick Wall on Oct 18, 2018 18:44:26 GMT
Couldn't care less about hearing anything from Who's Next ever again for as long as I live, but I would venture to say that the simplest test is that whichever version sounded shittiest has to be the Hoffman version. Just listen for the rolled off highs, the all-around boxy sound, the fuzzy distortion and, there you have it, a STeVE-endorsed hunk o' pap.
Not to mention the thousands of clipped samples. It has earned the distinctive honor of being the first brickwalled CD ever.
Thanks STEVE! [shite]The old West German Polydor has its issues. But it's still better sounding than Hoofbag's mangling of the album.[/shite] Not to mention the album was: Recorded At – Olympic Studios Recorded At – Stargroves Mixed At – Olympic Studios Mixed At – Island Studios So, refresh my memory. What exactly would the master tapes be doing at MCA in Ell Lay in Daddy's sticky fingers? Give me a break.  |
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