Deleted
Deleted Member
Posts: 0
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Post by Deleted on Jun 16, 2018 2:41:14 GMT
[
All the while Hoofman stands by and let’s people like Grant preach how the phrase “deaf as a post” and “blind as a bat” is terribly offensive to deaf and blind people? Perhaps Grant needs to take Myke’s cock out of his butt Hoofy’s dick out of his mouth and preach to them instead of going on a “political correctness” rant like he did the other day. The hypocrisy on that board never stops amazing me.
I am someone who doesn’t feel that I need to give pity to “the handicap” because 99% of “handicap” people I know have never allowed it to stop them from achieving their goals, but I also feel for those who have issues severe enough that they cannot work or need to reply on people. But taking advantage of someone who is blind and laughing at them .... what a fucking cunt. I certainly hope it’s a joke but sadly I can believe him stealing and laughing at Ray Charles more than I can believe it was a joke.
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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 Jun 17, 2018 10:31:02 GMT
It's 2009. STEVE has just gotten the bad news that Kevin Gray does not wish to work with him anymore. This is a major blow. Kevin was very good at handling all the technical aspects that come with mastering and letting STeVE take the credit for all the work.
Marshall just called. He has a new project. The Doors, no less! What to do? Back to home studio with the old trusted DAT machine, then!
So, after two months of fiddling with the EQ, STEVE proudly delivers his master DAT personally to the Audio Fidelity headquarters (the mailbox, yes). A short while later, the new release is imminent. Hoofman is ready for the heaps of praise befalling him: "best it has ever sounded, STEVE", "you outdid yourself once again, STEVE." But then, the lovefest is brutally interrupted by a stream of complaints about digital clicks. Hoof tries to make them go away by deleting the offending poats but they keep coming back.
Marshall calls: "we have a situation here. AF is getting bombed with complaints about clicks on Morrison Hotel. I just spoke to the plant, they said the clicks are on your DAT master. Get your ass back in the studio and deliver me a new master asap, you moron." *click*
Deeply hurt, STEVE goes back into his basement, and plays the whole CDr once again through his setup and records it to another DAT (a Japanese brand which to STeVE sounds closer to analog than your regular TDK). While listening to the final master, STEVE tries to remember the last time he felt this kind of pain from rejection. Was it in 1981, when a tipsy Olivia Newton-John refused to give him an autograph at a music biz party? He had put on his most charming smile, but she had looked at him like he was dirt. That bitch@#!
Dutifully, STEVE delivers his new DAT master (marked X) to the AF mailbox, and thinks nothing of it anymore. Well, until a couple weeks later when his fans have gotten their replacement copy and make the discovery that the clicks are STILL THERE.
Marshall calls: "we have a situation here. AF is getting bombed with complaints about clicks on Morrison Hotel. I just spoke to the plant, they said the clicks are STILL on your DAT master. Do you have anything to say for yourself, you fucking dolt?". STeVE: "Geez, I'm sorry boss, must be my new ultra-resolving speaker set-up". Marshall: "I just spoke to Kevin, he's gonna come to your house to record the digital master, as a favor to me. Don't make an ass out of yourself again, got it?!" STEVE: "Yes, sir."
This is a breaking point for STEVE. He needs to do something to make this crazy hurting feeling go away. He starts typing up a new poat on the AF Morrison Hotel thread.
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Post by Chicken in Black on Jun 17, 2018 10:58:59 GMT
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Post by Aural Relations on Jun 18, 2018 8:42:20 GMT
It's 2009. STEVE has just gotten the bad news that Kevin Gray does not wish to work with him anymore. This is a major blow. Kevin was very good at handling all the technical aspects that come with mastering and letting STeVE take the credit for all the work.
Marshall just called. He has a new project. The Doors, no less! What to do? Back to home studio with the old trusted DAT machine, then!
So, after two months of fiddling with the EQ, STEVE proudly delivers his master DAT personally to the Audio Fidelity headquarters (the mailbox, yes). A short while later, the new release is imminent. Hoofman is ready for the heaps of praise befalling him: "best it has ever sounded, STEVE", "you outdid yourself once again, STEVE." But then, the lovefest is brutally interrupted by a stream of complaints about digital clicks. Hoof tries to make them go away by deleting the offending poats but they keep coming back.
Marshall calls: "we have a situation here. AF is getting bombed with complaints about clicks on Morrison Hotel. I just spoke to the plant, they said the clicks are on your DAT master. Get your ass back in the studio and deliver me a new master asap, you moron." *click*
Deeply hurt, STEVE goes back into his basement, and plays the whole CDr once again through his setup and records it to another DAT (a Japanese brand which to STeVE sounds closer to analog than your regular TDK). While listening to the final master, STEVE tries to remember the last time he felt this kind of pain from rejection. Was it in 1981, when a tipsy Olivia Newton-John refused to give him an autograph at a music biz party? He had put on his most charming smile, but she had looked at him like he was dirt. That bitch@#!
Dutifully, STEVE delivers his new DAT master (marked X) to the AF mailbox, and thinks nothing of it anymore. Well, until a couple weeks later when his fans have gotten their replacement copy and make the discovery that the clicks are STILL THERE.
Marshall calls: "we have a situation here. AF is getting bombed with complaints about clicks on Morrison Hotel. I just spoke to the plant, they said the clicks are STILL on your DAT master. Do you have anything to say for yourself, you fucking dolt?". STeVE: "Geez, I'm sorry boss, must be my new ultra-resolving speaker set-up". Marshall: "I just spoke to Kevin, he's gonna come to your house to record the digital master, as a favor to me. Don't make an ass out of yourself again, got it?!" STEVE: "Yes, sir."
This is a breaking point for STEVE. He needs to do something to make this crazy hurting feeling go away. He starts typing up a new poat on the AF Morrison Hotel thread.
"It's not a bug, it's a feature!" Fuck you, mullet.
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Post by Boozin' Susan on Jun 18, 2018 14:07:40 GMT
One of the best SH.tv moments has to be when STeVE got a new orifice installed, courtesy of Mr. Bob Ezrin..! There was STeVE, getting felated by the minions, and suddenly Ezrin shows up and proceeds to call Hoffman on his lies. Enjoy: Great sounding album, maybe the best Alice? Today at Stephen Marsh Mastering in the Hollywood Hills we nailed this one. It was a tense session because the tapes were pretty typically messy due to age but messy is my middle name... At any rate, Stephen, second engineer Fernando Lee and I were patiently mastering the Alice Cooper for Audio Fidelity. We did our usual split feed, DSD take and CD take, both at the same time. The tapes were the original mix compilation reels that were done at the Record Plant back in the day. Each reel had the dates of the original mixes and what mix "take" was pulled to this album comp. There was also a big note on each reel saying: DO NOT USE FOR ANY PRODUCTION WORK, USE EQ DUB CUTTING MASTER. And for good reason. The master songs had many edits in each song , many level changes and, wacky as it seems, some of the songs required different level setups and Dolby A adjusting due to differing balance levels, no big deal. Some of the songs were mixed in 1972, some in 1973 and each side of the album masters had a different set of tones to go with it. Yikes. No way a phonograph record in the old days could be cut from these complicated master reels, so a "mastered" copy with EQ and compression was generated and all lacquers, parts, etc. were cut from that, bypassing this original set so sides could be cut without stopping. However, us brave dudes decided to plug ahead and use these two original reels since we were not cutting phonograph records and could start and stop after each song. First, Stephen Marsh went in and fixed each and every edit (the glue on the splice tape had bled over the years and it was a sticky mess at each of the many edit points). No baking of the tape was required as the tape stock was from the good year of 1972. Tape still played fine, no shedding whatsoever. Good news. Once the splices were scrubbed and fixed, Stephen's Dolby expertise went into effect and he aligned the ATR analog playback deck with his custom Dolby A box until it was perfect (at least for the first few songs). On side two for whatever reason the levels were off by 2 db on most songs, throwing the Dolby alignment off so we just realigned, same as they did back in the day and for the Greatest Hits CD. Then, we transferred, one at a time, using our special brand of mastering knowledge and dumb luck. None of the songs sounded tone-wise like any other songs on there, each had a different and nicely subtle but unique sound. obvious on our top notch modern gear, probably not so obvious on monitors back in the day.. Now on the old LP they made all of them sound similar by filtering and compressing but that was not our goal. I personally don't care what the old LP sounded like unless it had amazing sound (and this one didn't compared to the actual master mixes, the vinyl was too compressed and compromised, a long album on two vinyl sides). I want YOU to hear what the band and producer got to hear back at the Record Plant in 1973 so I left the tonal changes intact for the most part from song to song but at the same time I made sure each one sounded the best it could in the context of "what they were obviously going for" back then, same as I've done on almost every project I've worked on since 1982. The intent of the original artist/producer/engineer is always the main goal. At any rate, it took a long time today, high-priced designer pizza was delivered and we took a break but mainly we worked on this, one song at a time, having to fix levels, Dolby levels, EQ (usually the tape box notes were pretty right on) and other "tricks" for each and every song while having to "MRL" the machine back to neutral/normal after each one so we could carry on and on. The album holds up nicely. I had a retro-type girlfriend in the 1980's who LOVED this album (she thought she was so cool to like something from an earlier era, I thought "eh, big deal") but I was reminded of her throughout the day. A weird feeling but I'm sure she will dig this new version. As always, it's very important to me that the ORIGINAL VINTAGE mixes were used. A bunch of extra crossfades, solo guitar strums and other goofy stuff was still on the reels after the leader and I'm glad they wisely decided to not use any of them in the final release. Hope you all like this one. 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. I don't think that Bob said that definitively, I think that rather he was expressing some doubt based upon Steve's description of the tapes and what had to be done to them in the process of mastering. There could be several explanations for this that don't necessarily involve the wrong tapes being used. Anyway, I hope that Bob gets an advance copy and approves of it. That would be a good result. He wasn't definitive but raised serious questions that have yet to be answered. 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. He is telling you that it is a later generation than his master. Could it be remotely possible that he might no what he is talking about being he produced the album? You have it backward. The tape with the edits on all the songs is the master. There is only one. Everything else is a copy. You're insulting me, Stephen Marsh, our record company Warner Bros. and all who worked on this. You think we can't tell a master tape from a copy? Do you know how long we had to wait and what hoops we had to jump through to get the actual Warner Bros. original master tapes on this album? And now you're casting doubt that we are even when I showed you a photo of the tape box and described our entire mastering process in detail? It sounds to me like you have an agenda. Ok you mean Ezrin has it backwards. I was quoting him. Steve, Sorry to read it's come to that. I enjoy reading all of those insider/technical posts about the work that goes into a mastering. But hey, the disc of Billion Dollar Babies will speak for itself. Eh, no big deal, I talk too much anyway. No one in charge really likes me blabbing about mastering experiences (no record company suits, legal, etc.) so maybe it's for the best. For me it's like a stress release after a big project, to talk about it to people who might care. Otherwise it just ends cold turkey and I sometimes go into a tailspin. Rereading this now makes me realize why I enjoy being at Stereo Central and why lambasting Steve Hoffman is so satisfying.
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Post by mintybaldwin on Jun 18, 2018 15:17:06 GMT
Just contact me via PM and I'll have the studio send you a CD check disk, my treat. Multi-millionaire mastering legend Steve Hoffman wants you to know he is generous to a fault by picking up the... *checks notes*... couple of bucks it costs for a blank and postage.
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bradman
Better than Steve
Posts: 5,140
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Post by bradman on Jun 18, 2018 16:06:03 GMT
Are there any people left in the industry that would even return StEves call?
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Post by essayceedee on Jun 18, 2018 17:38:27 GMT
It's always satisfying when Steve "Messy" Hoffman gets his ass handed to him by an actual professional.
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Post by Brick Wall on Jun 18, 2018 18:25:17 GMT
Steve Hoffman. A major player pimple on the ass of the music biz. Edit: a bit of quick research reveals that erstwhile member in good standing, ringosshed, has been MIA since Nov. 23, 2017. His last poat (that survived the sanitation for your protection) was in the thread mentioned above. RIP ringosshed.
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Post by blahdiofile on Jun 19, 2018 5:37:48 GMT
Bob and I have spoken and he says I'm doing the best job ever. No, Bob won't be posting here anymore. Why is that suspicious? You want to hear it from Bob himself? Maybe the Gorts need to step in here.
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daved
Better than Steve
Posts: 10,575
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Post by daved on Sept 6, 2018 18:07:02 GMT
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Deleted
Deleted Member
Posts: 0
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Post by Deleted on Sept 6, 2018 18:41:34 GMT
“In her own clothes.” What the fuck is that supposed to mean, and who the fuck cares? Good job, STeVE, you raided the Goodwill donation bin without getting caught. Fuck you you opioid addicted piece of whale dick.
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bradman
Better than Steve
Posts: 5,140
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Post by bradman on Sept 6, 2018 20:41:22 GMT
Devoe has already been crankin' it to that video.
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Deleted
Deleted Member
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Post by Deleted on Sept 6, 2018 21:38:45 GMT
Devoe has already been crankin' it to that video. Are we even certain that he didn’t tape it? Does anyone spot Vickie in the background?
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Post by hugofuguzev on Sept 7, 2018 5:08:59 GMT
If there's any justice in the world, hopefully Steve's daughter will be a completely fucked up junkie by the time she's sixteen, thanks to her old man pimping her out for music videos and shit...
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