You know the type, the old fashioned console with switches and knobs and sliders. What the team did was to take an element of the music that required attention from the digital source and converted that back into analogue then brought it into their analogue console. What most mastering engineers do is to transfer a tape into digital, they edit it in the digital realm, then save it as digital and send that file to the cutting engineer. Lurssen and Cohen went one step further than most mastering engineers, at least in my experience. There’s more to Lurssen’s mastering techniques than this though. That is, not to such detailed and exacting standards. You can’t do that by mastering with analogue tape. This means that the team could reach into a track pull out the information required, fix it and plug it back again. Storing in the digital domain, it gives us the flexibility to really give the sonic treatment of the music into the exact place that we want it.” When you handle the tapes and you rewind back and forth and you’re EQing every track, you risk destroying the original tapes. Some vinyl fans shudder when the notion of any sort of digital is included within an analogue project but Lurssen believes that digital is a must and it’s here to stay, “The idea is to get the work done with the minimal carnage,” he said “When you work on these old and fragile tapes, some are brittle and if you make analogue tape copies then you’re picking up degradation. When I work at lower rates, I detect it.” To me, it’s a feel thing and at 192kHz, I feel fine. Everything that you do that is other from sitting in front of that orchestra, is a compromise. It won’t be as good as actually sitting in front of that orchestra. If I then record that orchestra under the very best of conditions and circumstances where even money is of absolutely no object, for later replication, it’s not going to be as good. If I’m sitting in front of an orchestra…that is the purest form of intake. Lurssen was ready for that one, “Every time you do anything, there is compromise. Yet there are audiophile voices out there who would say that 192kHz doesn’t give you everything that vinyl can offer. When I say that Lurssen Mastering is an award-winning outfit, I wasn’t kidding. Our feeling is that 192kHz is really where it should start.” Many people in the audio field believe that 96kHz is fine. Also, some of the gear won’t work at that rate. It’s not going to buy you anything else really. If you open the gates wider, the information coming in doesn’t increase, the gate is just a little wider. With 192kHz, you’re gaining as much information as you can get. “Also, in my opinion, the ear’s hearing range is all achieved from 192kHz. So why not 384kHz then? “It’s got to do with what the gear’s capabilities are and the necessity regarding time,” said Lurssen. We’ve never actually discussed that but I’m guessing that’s the reason.” For an archival format – which is aimed at the future – PCM is something that can be read. The PCM transfer adds flexibility to help future proofing. Why 192kHz? Why not DSD for this George Harrison set? The Rolling Stones mono box set was processed using DSD files, for example, “When you go into proprietary formats,” said Lurssen, “it limits abilities. Paul Hicks (who began his career at Abbey Road) was the guy who handled the actual tape transfer.
Most of the mastering was completed within the analogue domainįriendship grew into trust and the invitation to work on this set. Everyone seems to know everybody else and, if they don’t, they know everyone through one degree of separation.” I’d met him on a Ben Harper project called Fistful of Mercy with Dhani and Joseph Arthur. Lurssen described how his company got involved with the project, “I had worked with Dhani Harrison. The set also includes two bonus 12” picture discs: When We Was Fab and Got My Mind Set On You, both from the 1987 album Cloud Nine.īefore tackling the LPs, I was fortunate to chat with the two mastering engineers responsible for the sonic production of this new analogue set: the multi-award winning Gavin Lurssen and Reuben Cohen of Lurssen Mastering in the USA.
#BEST GEORGE HARRISON ALBUMS REDDIT FULL#
The full contents list for the set includes: Wonderwall Music (1968), Electronic Sound (1969), All Things Must Pass (1970), Living In The Material World (1973), Dark Horse (1974), Extra Texture (1975), Thirty Three & 1/3 (1976), George Harrison (1979), Somewhere In England (1981), Gone Troppo (1982), Cloud Nine (1987), Live In Japan (1992) and Brainwashed (2002).
0 kommentar(er)
