Newsgroup: it.hobby.hi-fi
Titolo: By cheski LUNGO:i migliori cd records

 So you can judge the quality of a CD to a great degree by the
position of the monitor control required to generate a comfortable
loudness.
I. CDs requiring Monitor Gain 0 dB or Higher (approximately K-20).
These have the lowest absolute loudness.
+2 dB
Portraits of Cuba - Paquito D’Rivera
Engineered and Mastered by Bob Katz. Big Band Latin Jazz. A bit
bright, but extremely natural. Recorded with minimalist miking. Turn
it up! Chesky Records, JD145, ©1996.
0 dB
Body and Soul - Joe Jackson
Mastered by Bernie Grundman. Engineered by Rik Pekkonen. The slightly
harsh high end reflects synthesizers and A/Ds of the period, but the
sound is open and marvelous. It’s moderately compressed at the top for
effect, with great dynamic range. A&M Records, CD-3286, ©1984.
Heartattack and Vine - Tom Waits
Mastered by Terry Denason. Engineered by Bones Howe. Excellent blues
rock. Moderately compressed, very clean for a 1980 production.
Electra, 295-2, ©1980. 
Reunion at Carnegie Hall - The Weavers
Mastered by Doug Sax. No mix engineering credit given. A very clean
transfer of a well preserved analog tape. Very realistic recording of
folk music with great sound and dynamic range. This CD is also
available on Vanguard Records, but I have not auditioned that version.
Analog Productions, APFCD 005, ©1963, Gold Limited Edition.
II.  Monitor Gain -1 dB to -5 dB (between K-20 and K-14)
-1 dB
Crazed Woman - Blazing Red Heads
Mastered by Paul Stubblebine. Engineered by Keith Johnson. This CD was
recorded with modified (but aging) digital technology before Keith
co-invented HDCD. All tracks seem to be recorded with no compression.
The monitor level of -1 dB shows what can be done when there are no
restrictions or qualifications on a label. Reference Recordings,
RR-41CD, ©1991.
Dark Side of the Moon - Pink Floyd
Mastered by Doug Sax. Engineered by Alan Parsons. I think the original
LP sounds more open, but this is still a good transfer to CD. Great
example of progressive rock where the compressor was used for esthetic
effect and for the sound, not to achieve a “loud record.” Capitol
Records, C2-46001 (several re-releases), ©1973. 
Lyle Lovett and His Large Band
Mastered by Glenn Meadows. Engineered by Chuck Ainlay. They don’t make
em like this (much) anymore--but why not! Sardonic lyrics with a great
arrangement, and a classy multi miked recording of a tight, clean, big
band, very entertaining. A very dynamic and clear recording, a bit of
digititis, but damn good. MCA Records, MCAD 42263, ©1989.
Stop Making Sense - Talking Heads
Original Master by Jack Skinner and Ted Jensen. CD Master by WC Record
Group. Mix Engineering by E. F. Thorngren and others. Monitor gain -1
dB (for loud playback!). Made long before the volume wars, this CD
puts most current pop/rock CDs to shame. This 16-bit CD illustrates
that there is no noise floor problem at high monitor gains and that it
is a myth that 16-bit CDs have to be compressed or limited to fit in
the medium! After all, CDs have a measurable 115 dB dynamic range
(properly dithered)--noise floor is NOT a problem. Slightly harsh high
end due to the weakness of older model A/D converters. Warner Brothers
Records/Sire Records, 9 25186-2, ©1984. 
-2 dB
The Night Fly - Donald Fagen
Mastered by Bob Ludwig. Engineered by Roger Nichols and Eliot
Scheiner. What a great digital recording with exceptional production
value. Clean, clear transients, and tasty, moderate compression
applied to select instruments. This is another example of pre-volume
war excellence that we have got to return to. Warner Brothers,
923696-2, ©1982.
Waiting for Columbus - Little Feat Live
Recorded by George Massenburg. All other credits nebulous. I think the
highest peak is -3 dBfs, so it could have been hotter without any
sacrifice in sound quality. The A/D converters used for the analog
transfer were obviously 1980’s generation, less than state of the art
(a bit gritty), but the transients, purity and clarity of this
transfer done without any obvious mastering processing more than make
up. A good mix to emulate for the impact and clarity. Warner Brothers,
3140-2, ©1978. 
-3 dB
Security - Peter Gabriel
No Mastering credit. Engineered by David Lord. DDD. Highest peak may
only be around -3 dBFS so this could have been 3 dB hotter without any
sacrifice. Amazingly dynamic and atmospheric recording with lots of
deep rhythm. Transients are not particularly sharp, but this was an
obvious choice of the mixing engineer/producer who were looking for a
certain sound. The "remastered" version of Security reportedly is
defective and has lost its sonic attributes. The review of this album
is based on the original master of Security. Geffin Records, 2011-2,
©1982.
-4 dB
Citizen - Steely Dan
Mastered by Glenn Meadows. Engineered by Roger Nichols, Elliot
Scheiner, and Al Schmitt. Produced by Gary Katz. Ricky don’t lose that
number! Does it surprise you to learn one of your favorite groups of
all time is one of the lowest in absolute loudness! This master was
obviously made without any attempt to compete with the loudness of
other CDs. The result is a CD set where good sound was the only
concern. This is a four volume boxed set of their work from 1972-1980
that has been digitally remastered. MCA Records, 4-10-981, ©1993. 
In a Sentimental Mood - Dr. John with guest Ricky Lee Jones
Original master by Doug Sax, who perhaps also did the CD Master.
Produced by Tommy Lipuma. Engineered by Bill Schnee. New Orleans
Blues/Big Band. Superb, pure, clear, solid, and full recording. This
sounds like an excellent clean transfer with little or no master
processing applied. No digititis either, excellent digital technology
and/or some analog was used. An good mix or master to emulate with
clean, clear transients and exciting dynamics. Warner Brothers
Records, 9 25889-2, ©1989.
Innervisions - Stevie Wonder
Mastered by George Marino. Engineered by Dan Barbiero and Austin
Godsey. I think the original LP sounds much better and cleaner, but
this could reflect tape degradation by the time the CD master was
made. However, the CD is still an excellent example of clean
production, moderately compressed before the volume wars. Motown
Records, 3746303262. ©1973.
Joshua Judges Ruth - Lyle Lovett
Mastered by Doug Sax. Recorded by George Massenburg and Nathaniel
Kunkel; mixed by George Massenburg. The sound on this pop recording is
full, rich, and open. I highly recommend it as an example of either a
mix or master to emulate. They don't make 'em much like that anymore
(write your congressman). Doug Sax's tube compressor probably
contributes to "just the right amount of punch". I suspect the mix was
close to a K-20 as the master is about the equivalent of a K-16, and
the low absolute level of this master is part of the reason it sounds
so good (the whole point of this Honor Roll). MCA Records, MCAD-10475.
©1992 (pre loudness race).
Milagro's Journey - Dave Eshelman's Jazz Garden Big Band
Mastered by Mark Calice. Engineered by Leslie Ann Jones. Mixed by Dann
Thompson, Mark Calice and Dave Eshelman. Monitor gain at -4 dB, but
only if you can take it during the loud passages! Multimiked big band
sound with no artificial dynamic modification. Amazingly it was
tracked to analog. WARNING Tremendous dynamic range, maybe even too
much for some tastes--wow! Sea Breeze, CDSB-2112, ©2001. 
-5 dB
Are You Passionate? - Neil Young
Mastered by Tim Mulligan, John Hausmann, and Danny Purcell. Engineered
by Tim Mulligan. A very daring congrats. Analog tape saturation was
obviously used to get the sound, but otherwise was not pushed “louder
than loud” in either the recording or mastering. After a brief
acclimatization to the fat sound it is quite attractive, nice,
impacting, rocking and spacious! Reprise, 948111-2, ©2002. 
Penguin Cafe Orchestra
Mixed by Colin Green and Ian Morais. This is a kind of
Art-Rock-Folk-World music. Transferred from the original analog, a
clean neutral A-D of a very joyous and rare music. EG Records,
EEGCD11, ©1981.
Pleasure and Pain - Roy Rogers
Mastered by Paul Stubblebine, Mixed by Arne Frager. Fantastic, clear
yet warm and evocative sound. Varies from country-influenced acoustic
to strong rock and blues. Very musical sound. HDCD but sounds great on
a regular playback, too. Even more open and transient clear with HDCD
playback. Virgin/Pointblank Records. 7243 84554729. ©1998.
Songs from the Analog Playground - Charlie Hunter Quartet
Mastered by Mark Wilder. Engineered by Joe Ferla. Fusion Acid-Jazz,
transferred from the 30ips 1/2" tape, it retains a very warm analog
sound with transients not squashed by mastering, perhaps softened a
bit in the mix to analog. Blue Note, 7243 5 3355029, ©2001.
Workingman’s Dead - Grateful Dead
CD Mastering circa 1987 by Joe Gastwirt, assisted by David Collins.
Very clean transfer with little or no processing to digital, classic
analog sound. Warner Brothers, 1 869-2, ©1970.
III. Monitor Gain -6 db to -7 dB (approximately K-14)
-6 dB
Amused to Death - Roger Waters
Mastered by Doug Sax and Ron Lester, Recorded by Nick Griffiths,
Engineered by James Guthrie. Very Pink Floyd, with a lot of very quiet
passages, but some real rockers as well. From analog tape. Art-Rock
with a good sound. Columbia Records, CK47127, ©1992.
Blue in Green - Tierney Sutton
Mastered and Engineered by Michael Bishop. Vocal with a jazz trio
behind it. There is a lot of deep bass groove with strong, clean
rhythm and solid bass drum. It is huggably warm, with lots of
proximity effect on the vocal. A good example of a nice clean jazz
recording with lots of good, natural dynamics. I doubt that there was
any mastering limiting used on this album, though individual
compression was likely used on vocal or bass. To make it louder, turn
up the monitor! Telarc, CD-83522, ©2000. 
Burn to Shine - Ben Harper and the Innocent Criminals
Mastered by Dave Collins. Engineered by Eric Sarafin. Produced by J.
P. Plunier. This is a very interesting alternative rock group. It has
very strong bass and bass drum content which are part of the attitude.
A good dynamic range. Watch out though, every song on this album is
different. It rocks. Virgin Records, ©1999, 724384815127. 
Come Dance with Me - Frank Sinatra
Big Band Jazz. No mastering or engineering credits. This is an
excellent transfer of a vintage analog tape, so transparent you feel
you could reach out and touch Frank. A bit thin in the voice, but
otherwise incredible dynamic range. Distorted in the loud parts,
especially the trumpets, but so forgivable because of that sound and
that Capitol chamber. This album had to make the Honor Roll to
demonstrate the incredible production values of over 35 years ago!
Capitol Records, 724349475427, ©1987.
Bright Red - Laurie Anderson
Mastered by Bob Ludwig. Engineered by Kevin Killen. Very clean and
open with great dynamic range. Beautiful, clean, and clear digital
sound. Very attractive. Warner Brothers Records, 9 45534-2, ©1994.
Enchantress - John Serry
No mastering credit. Engineered by Michael Bishop. Caribbean
influenced jazz. Good and clean, solid, well balanced. It has a very
nice punch to it as well. Telarc Jazz, CD83392, ©1999.
Feeling Alright - by Jerry Medina
Salsa/Latin Jazz. Mastered by David Rodriguez. Engineered by Francisco
Hurrado. Monitor gain is -6 dB (for loud playback). Very clean with
moderate compression, with some forgivable sibilance and brightness.
Very emulatable production values. RMM Records. RMD 82259, ©1998.
The Gershwin Connection - Dave Grusin
Mastered by Wally Traugott. Engineered by Ed Rak. This is a modern
Jazz album with a Rock flavor, and recorded with some of the top names
in Jazz. Fabulous impact, clean, warm, extremely pure sound, dynamic
range, and stereo image. Try Fascinating Rhythm. May be from analog
tape, if so it is truly excellent. Moderately compressed but still
retains its transients. GRP Records, GRD-2005, ©1991.
Head to Head - John Allred and Wycliff Gordon
Mastered by Bob Katz. Engineered by Gary Faller and Gary Baldassari.
This is very attractive traditional Jazz. Warm, yet clean transients,
open highs, moderately compressed, and a good dynamic range. Arbor
Records, ARCD19261, ©2002.
If I Could Only Remember My Name - David Crosby
Mastered by Bill Dooley (1987). Engineered by Stephen Barncard.
Transferred from the analog tape with little or no special mastering
processing. Classic analog sound well preserved on the CD.
Atlantic,7203-2, ©1971.
Luck of the Draw - Bonnie Raitt
Original Master by Doug Sax. Engineered by Ed Cherney. Produced by Don
Was. An excellent transfer direct from analog tape with little or no
mastering processing. Capitol Records, 07777-96111-2, ©1991.
The Mask of Zorro (Music from the Motion Picture)
Mastered by Patricia Sullivan. Mixing credit given to Simon Rhodes and
Frank Filipetti. Produced by Jim Steinman. One of James Horner’s
evocative soundtracks. Engineered for “pop” production rather than
classical, it has a 14 dB peak to average ratio. Nice depth and beauty
preserved despite the slight mastering compression required to end up
at this monitor gain, which is about 6 dB louder in absolute loudness
than the score for the theater. In other words, to play at the same
reproduced loudness as the music in the theater, the monitor gain has
to be set to -6 dB to reproduce this CD, but it will sound a bit more
closed-in due to the reduction of transients. Very nice, warm sound,
with a perfect integration of pop elements and sound effects (whips,
chains, etc.) along with a pop vocal (hit) number whose level is just
right compared with the rest of the tracks. An example for all of us
to follow. Sony Records, 60627, © 1998. 
The Power of a Hat - Gunnar Madsen
Mastered by Bob Katz. Recorded and mixed by Daniel Protheroe. An
eclectic trip of different music from this performance artist. Goes
from full-tilt rock to a capella. Very pure sounding material was
recorded with a custom console and mixed to 1/2" analog tape. G-Spot
Records,(
www.gunnarspot.com
) GSP 002, ©1998.
Sergeant Pepper - Beatles
Produced by George Martin. Engineered by Geoff Emmerick . This is an
example of a great 33 year old mix transferred almost flat. Despite
this generation distance (what generation is this CD copy?) and time,
yet still the virtues come through. Indicates little or no mastering
processing was used. A splendid time is guaranteed for all. Capitol,
Apple Records, CDP746442-2, ©1998.
Southland of the Heart - Maria Muldaur
No mastering credit. Engineered by Michael Bishop. This is an example
of real Blues/Rock, a total kicker. A beautiful example of a dynamic
mix to emulate. The bass has a strong drive, very punchy and clean. Be
careful with that strong of a bass level when mixing, unless your
monitors are extremely accurate. Telarc, CD-83423, © 1998.
The Tender Trap - Janis Siegel
Produced by Fred Hersch. Recorded, mixed, and mastered by A.T. Michael
MacDonald. Classic Jazz with a great dynamic singer, absolutely
fantastic. An all analog tape production too! Monarch Records,
MONA-1021, © 1999. 
Warm Your Heart - Aaron Neville
Mastered by Doug Sax. Engineered by George Massenburg. Classic
Louisiana Blues with classical blues instrumentation and symphony
orchestra. The gentle compression lends to that fat enveloping sound
which is very pleasant, punchy, and not over squashed. We can barely
equal this incredible sound quality today. An excellent mix to
emulate. A&M Records, 75021 5354 2, ©1991. 
You Won't Forget Me - Shirley Horn
Mastered by Bob Ludwig, recorded and mixed by David Baker. This
exceptional, open sounding jazz record is of the highest sonic merit,
revealing all the nuance and beauty of one of the finest voices in
jazz plus her accompaniment. A great way to hear how to do it just
right. Verve Records, 422-847482-2, © 1990. 
-7 dB
Central Avenue - Danilo Perez
Mastered by Doug Sax. Recording and Mix Engineer, Al Schmitt. The
compression on this Afro-Cuban Jazz recording maintains a strong punch
from a strong average level without losing the sense of transients
from the peak-producing instruments, and a very pleasant, attractive,
warm sound. Very keen and experienced mastering ears may be able to
detect the slight bobbing (pumping) of the mastering compressor,
indicating we’re just on the threshold of over-compression. GRP
Records. GRP 279, ©1998. 
Forgiving Eden - A Triggering Myth
Mastered by Bob Katz. Engineered by Vic Stevens. Progressive Rock with
synths and real live drums. Very creative flowing classically
instrumental composition. Excellent pure sonics for a synth-based
album and great dynamics. Solid bass and clean top with out being
overbearing. Good to emulate as a mix, though would be tough to match
totally the mix due to unique mastering enhancements (ps: a little
bird told me). 1x speed, K2 glass master processing from JVC. Lasers
Edge, LE1036, ©2002.
Hot Rocks 1964-1971- The Rolling Stones - A must have for all who want
to know "how hot to make it"
Mastered in 2002 by Bob Ludwig to DSD and hybrid CD/SACD, with 96 kHz
transfers from analog tape by Steve Rosenthal at the Magic Shop. A
superb restoration that has removed layer upon layer of veils from the
source, compared to any of the previous versions, vinyls or any
previous CD "remasterings." Ludwig has lovingly and courageously held
the line on the level and sound quality of these precious tapes. If
Ludwig made the digital master a bit hotter than the original analog
tapes, it's probably not by much, and I believe that the dynamics of
the original masters have not been compromised. Of course the original
recordings were compressed by the tape and processors, but compression
is (and helps to make) "the Rolling Stones sound." The end result (not
squashed by any means, not pushed to today's overblown levels) stands
as an example for rock and roll engineers of all generations to
emulate. Please play this record for all your clients, and ask: Does
it ever have to be hotter than this? The simple answer: not for rock
and roll. I n a perfect world, this level would be the absolute level
for heavy metal and the Stones would have been mastered slightly
lower--But you do own a volume control, don't you? Just turn it up!
ABKCO Records 96672, ©2002
Hourglass - James Taylor
Mastered by Ted Jensen. Engineered by Frank Filipetti. This CD is very
pleasant to listen to with a warm quality and a full balanced sound.
Columbia Records, CK67912, ©1997. 
In My Life - George Martin
Mastered by Tony Cousins. Engineered by Rupert Coulson and Chris
Sheldon. It’s hard to separate the internal emotions that come from
listening to the last record by the producer of the Beatles. All of
the compression on this record is on purpose and to great effect, not
one drop is used for the loudness race. It is hard to tell how much of
the sonic artistry is in the production, recording, mixing, or
mastering, which is the way it should be. MCA Records,
MCAD-11841,©1998. 
New Favorite - Allison Krauss and Union Station
Mastered by Doug Sax. Engineered by Gary Paezosa on DSD. Country
Style, very acoustic, good dynamics, great mix, and great mastering.
Rounder Records. 11661-0495-2, ©2001. 
Recycler - ZZ Top
Mastered by Bob Ludwig. Engineered by Terry Manning. Excellent Fat
rock production, moderately compressed analog mix with impact and some
dynamic range. Warner Brother Records, 926265-2, ©1990. 
Rick Fay With Strings - Rick Fay
Mastered by Bob Katz. Engineered by Gary Baldassari. Mixed by Andy de
Ganahl. Very natural, superbly-played traditional acoustic jazz, with
strings and heart! Classic tenor playing in a style you hardly hear
anymore. Arbors Records, ARCD 19205, © 1998.
Shelter Me - Richard Page
Mastered by Doug Sax. Engineered by Kim Bullard and Mixed by Elliot
Scheiner. Modern Pop, R&B influenced Rock. A very big and open sound,
clean yet fat and full. Blue Thumb, BTD-7006,©1996.
Ten New Songs - Leonard Cohen
Mastered by Bob Ludwig. Engineered by Leanne Ungar. This CD has a very
pretty sound, rich and full with clean but not over bright top. The
vocal is a little loud for my tastes. Columbia Records, CK85953,
©2001.
Whenever We Wanted - John Mellencamp
Mastered by Bob Ludwig. Engineered by Jay Healy. Modern-day bright but
clean digital production. Great dynamic range. Harsh high end reflects
the limitations of the A/Ds and digital production of that era. At
-7dB it plays loud. Mercury Records, 314 510 151-2, ©1991.
IV. Monitor Gain -8 dB to -9 dB. These CDs have the highest absolute
loudness in the Honor Roll.
Some of the CDs in the following group may be slightly compromised in
their transient clarity. Other recordings in this group do not depend
on transient clarity for their musical value, and so they could be
made hotter without an esthetic sacrifice. Producers should judge
mastered product on its sound, not on absolute loudness, for we have
learned that there is a limit above which a particular recording will
suffer. And this limit varies for each style of recording, evidenced
by the CDs that are above this line! In an ideal world, it would be
polite to reduce the absolute loudness of this group for the benefit
of all, but I doubt that I will see this in my lifetime!
-8 dB
Back in Black - AC/DC
Remastered by Ted Jensen (no date). Engineered by Brad Samuelson.
Produced by Mutt Lang. Newly digitally remastered from the original
tapes. A great modern transparent digital transfer of some great rock.
Hot with some bus compression as it starts to saturate on peaks, but
ooooh the sound. Fabulous, conservatively mastered for max punch and
impact with all compression intentional and generally not for absolute
level. Though with a K12 monitor gain at -8 dB try not to use as a mix
emulation or your result will likely get too squashed due to the use
of mastering processing on this CD. I’m suggesting that mix engineers
concentrate on the mix rather than on the absolute loudness, or there
will likely be complaisant squashing and no room to fix anything in
the mastering. ATCO, 92418-2, ©1980. 
Bajando Gervasio - Amadito Valdes featuring Juan de Marcos' Afro-Cuban
All Stars
Mastered by Bob Katz, mixed by Juan Marcos Gonzales.
Acoustically-oriented Latin-Jazz and traditional style recorded at
Egrem Studios in Havana. Disco Caramba CRADX-2002, Tokyo, Japan.
©2002.
Da Good, Da Bad, and Da Ugly - Geto Boys
Mastered by Mike Dean. Engineered by Mike Dean and Mr. Lee. A superb
hip hop record to emulate sonically, but when going for a mix, go for
the sound, not to match this recording’s absolute level. Dirty lyrics,
but a clean sound. Very rich and well mixed Hip Hop album. This is not
just a collection of old tired loops; it’s real hip. Rap-A-Lot
Records,7243-8-46780-2, ©1998. 
Diamonds and Rust- Joan Baez
Mastered by Mike Reese. Engineered by Rick Ruggieri. Clean and pretty
remaster of a well recorded analog tape. A&M Records, D 3233, ©1975. 
Kiss Me Kate - the new Broadway cast
Mastered by Alan Silverman. Engineered by Cynthia Daniels. I have
always been split minded between the classical and the pop approach.
This recording is an excellent example of the pop approach, yet even
less squashed than many Broadway recordings of the 50's thru 70's.
Personally, I think it would sound better if it were engineered for a
lower absolute loudness, monitor gain -6dB or so. Why has Broadway
joined the loudness race? DRG Records Inc., DRG 12988, ©2000. 
The Low Spark of High Heeled Boys - Traffic
Remastered from the original tapes by Jeff Willens. Engineered by
Brian Humphries. This CD deserves special merit for a very classy,
clean modern technology digital transfer, very transparent, revealing
a great, historic 1971 mix. Years of veils have been removed to show
how well it could be done back then (but rarely duplicated). Monitor
gain at -8 dB indicates that some (2dB likely) modern day limiting was
used to raise the absolute loudness. The recording may or may not have
suffered due to the limiting, but I do not have access to the master
tape to say. This fabulous, clear and full 70’s early rock mix rivals
anything that can be produced today. You can literally smell the
hallucinogens in the air. Universal Music. 314548827-2, ©2002.
Messenger of Truth - Chris Beckers
Mastered by Errol Lem.  Engineered by Chris Beckers. Very clean, but
mastered a bit hot. It is on the verge of over-compression, but a
compressed attitude is the style. This R&B/Rock influenced album is
hot but not squashed. Like all the CDs which are monitored at -8 or -9
dB position, this is not to be emulated as a mix level, so as to avoid
the loudness race. Cris Crazz Records, CCR-035, ©2001. 
The Radiators
Mastered by Brad Blackwood. Engineered by Chris Polachack. Cool!
Moderately compressed Blues Rock, with the compression used for
effect, not loudness. Some reduction of transients to the dynamic
range, but the end result is very pleasant and mellow, and can be
played loud. Rattles by Records, RLB1001, ©1999. 
Rage Against the Machine
Mastered by Bob Ludwig. Engineered by Andy Wallace. A heavy metal
album that is not squashed, but amazingly loud on an absolute basis.
Good dynamics, clean--let’s roll back the clock! How far we have come
to have lost this sound quality! Epic, 2k 52959, ©1992.
The Shaming of the True - Kevin Gilbert
Rock, mastered by Ken Lee and John Cuniberti. Engineered by Kevin
Gilbert. Superbly recorded, mixed and mastered with amazingly good
dynamics for such a hot record. Kevin Gilbert was 50% of the genius
behind Toy Matinee. KMG 3, The estate of Kevin Gilbert,
www.kevingilbert.com
, ©2000.
Toy Matinee Special Edition
Mastered aggressively by Steve Hall. Engineered by Bill Bottrell.
Monitor gain at -8 dB to -9 dB. The CD was mastered hot, but not too
squashed. I would not advise mixing to this level, but it represents
an extreme of good mastering. Too hot for the loudness race, but still
with excellent production values. Unitone Recordings, 13702-4603-2,
©2001.
Wrecking Ball - Emmy Lou Harris
Mastered by Joe Gastwirt. Engineers include Malcolm Burn andMark
Howard. When auditioned on a standard CD player, it sounds compressed
at the top and the bottom and in fact, sounds severely over
compressed. However, with an HDCD decoder, it reveals its excellent
sound quality. If I didn't have an HDCD decoder, I could not like the
sound of this record. Asylum Records, 61854-2,© 1995. 
-9 dB
Aenima - Tool
Mastered by Bob Ludwig. Engineered by David Bottrill. An example of a
progressive metal CD for the 90’s that is not smashed to the wall. The
squashing is for artistic effect rather than absolute loudness or
mastering volume. A very large dynamic range makes it very attractive.
Can be harsh when loud, but that is the sound. Volcano Entertainment,
61422-31087-2, ©1996. 
Bele Bele en La Habana - Chucho Valdes
Mastered by Leon Zervos. Engineered by Jon Fausty. This is an
excellent production of Latin Jazz. Obviously compressed either in
mastering or mixing for a fat sound that brings up the inner voices.
Some reduction of transients but the sound is fat, clean, and warm
with a bit of attitude. Excellent imaging and dynamic range with
fabulous playing by arguably the greatest living Cuban jazz pianist.
Blue Note, CDP7243823083225, ©1998. 
Belly of the Sun- Cassandra Wilson
Mastered by Greg Calbi, recorded and mixed by Danny Kopelson. Despite
some squashing (not surprising at this absolute loudness), this album
retains some nice sense of space, depth and clarity, and some real
nice acoustic playing. Blue Note, 35072, © 2002.
Brand New Day - Sting
Mastered by Chris Blair. Engineered by Simon Osborne. Superb sound
quality, one of the best sounding modern CDs. It is tonally well
balanced, but on the bright side, and the vocals are too sibilant for
my taste. Also note that like nearly every CD in this absolute
loudness category, I firmly believe this CD would sound better, and
more open if its absolute loudness were reduced from 2 to 3 dB. 3 dB
would make it a K-14, taking it back to the masters of pre-1990 in the
volume war and a welcome retreat if you ask me! A&M Records,
0694904432, ©1999.
Every Single Day - Lucy Kaplansky
Mastered by David Glasser. Engineered by Ben Wisch. This is a
Contemporary Folk-Rock, but let’s not pigeonhole it--it’s Pop! Dynamic
and exciting, but playable on any system, proving it can and should be
done. Very strong and solid bottom end and proximity effect. WARNING:
It is an HDCD, but it also sounds good on a regular CD player, meaning
HDCD peak extension preset was not used or over used. Please don’t
emulate the level when mixing, just use it to examine the sound
quality of a well mastered contemporary record. The vocals lend to a
warmth and attitude. Red House Records, RHR CD156, ©2001.
Ex. Nihilo - Mad Dog Trio
Mastered by Jeff Carroll. Engineered by Steve Graham. Alternative Rock
with a Jazz influence. Fat Rock/Jazz sound. Loud, but not squished
sound at -9 dB monitor gain. Definitely compressed with an attitude.
www.maddogtrio.com
, MD3032102, ©2002.
Korn
Mastered by Eddy Schreyer, mixed by Chuck Johnson. This is where
modern heavy metal is headed, and it has amazing micro-dynamics for
such a hot record. Varying from clean and tight to slammed against the
wall, but the sonics and the music get along so well that it is even
very listenable on a high-end mastering system. Amazing transients for
such a hot record. I personally thought that some of the climaxes
would have had more impact if they were not so limited. And after this
came the loudness race--which is why you don't see much heavy metal on
the Honor Roll. Immortal/Epic Records, EK66633, ©1994.
Meant To Be - Ramsey Lewis and Nancy Wilson
Mastered by Trevor Sadler. Recorded and mixed by Danny Leake.
Engineers kill to get this kind of sound: sweet, warm, fat, involving,
spacious, and inviting--obtained through skillful and artistic use of
class A analog gear. But half the battle is the charismatic
performance by two old pros, which would have come through even if it
were recorded with two tin cans and a piece of string! Monitor gain -8
or -9 dB, and thus the rhythmic aspect and transients are underplayed
compared to the spatial virtues and tonality, yet still the vocal is
clear and dynamic. If the producers had desired a more transient,
rhythmic, quality, they could not have obtained it at this absolute
loudness. Compare the sound of this disc with the Maria Muldaur and
Shirley Horn, whose absolute loudness is at least 3 dB lower. I like
the sound of both approaches, perhaps I’d take the Maria sound for
“dinner and a show, and Nancy for “dessert!” Pointing out the virtues
of my K-System proposal, which asks the mastering engineer to lower
the output level of his processors so that the disc achieves an
absolute loudness more in line with the vast majority, but without
sacrificing this excellent sound. Would that be too much
sophistication to ask of the 21st century of audio? Narada Jazz
72438-50774-2-5.
Pieces of the Sun - Tony Levin
Mastered by Trevor Sadler. Engineered by Kevin Killen. This is a very
heavy progressive jazz-rock with synthesis and heavy bass. It’s a
compressed sound but an interesting one at that. Spacious with
considerable dynamic range (reminiscent of the Tool album). Sharp,
strong, and compressed when loud, but not brick walled and at the next
moment soft and delicate. Easy to listen to despite the hard rock
moments. It is fat and not particularly clean, but that is the sound.
Narada, 72438-11626-2-0, ©2002.
Speech Hoopla - promo CD
Mastered by Jay Frigoletto. Engineered by Blake Eiseman. R&B, Rap,Hip
Hop sort of, but more melodic. Very clean, mastered hot, but not too
squashed. One or two cuts are over processed, but others are superbly
mixed/mastered for a good sound. Tut Records, 1970-2A,©1999, US
Release.
Soul Power - Nadirah
Mastered by Jay Frigoletto. Engineered by Blake Eisman. This pumped-up
R&B occasionally sounds over compressed, but overall it's not
squashed. I wish that more major R&B would be at this level or
lower...
Soul Purpose - Alex Bugnon
Mastered by Trevor Sadler. Engineered by Michael Conrader. This CD is
hot, but clean and clear modern day R&B/Jazz. It is moderately
compressed with clean transients and has that fat, up front modern
sound with impact. Narada, 72438-1134-2-4, ©2001.
You’re the One - Paul Simon
Mastered by Bob Ludwig. Engineered by Andy Smith. Solid and beating
bass drum goes down to the center of the earth, but cleanly. This was
a production decision and it's pleasant, not overbearing. Very warm
for an all digital production. Very sweet. Superb, clean, warm depth.
A great album to emulate mix wise, very dynamic. HDCD but peak
extension must not have been used, or not used excessively. Warner
Brothers, 947844-2, ©2000.
 
Ciao
Berry
hifi news:  
http://www.livejournal.com/users/paulberry/
La VERA hifi low cost.

The weavers usa elettronica a tubi ..eppure funziona! 



I sacd non interessano a nessuno, mi spiace. Interessano solo a te: cioè, 
appunto, a nessuno. 

 stati per l'appunto scritti da NESSUNO, oh maialone imbecille...
Ah si certo caro il mio fallito. Peccato che il contenuto fosse, più o meno, 
il seguente: "chi se ne importa del sacd, a parte il rosicone?". Tu che ne 
sai parecchio di sto formato nato morto, mi sai dire la sua percentuale di 
diffusione? Riusciamo a raggiungere lo 0,01%? Sì?? Grande successo, anzi 
un'epopea....
Alla prossima buffone.