Features

Here's your opportunity to tour Electric Mastering's new vintage cutting chain with "master of the cutting lathe" analog legend Sean Davies.

After the Munich High End Show I went to the U.K. on some other business and while there paid a visit to Electric Mastering, the parent company of reissue label The Electric Recording Co.

A young reader inherited a turntable and asked about a modestly priced system he could assemble around it. We know where this will lead and we can all cheer him on, mindful of the fun and fetishing to follow. And we can all sympathize with his bank account—assuming he has one!

My feelings about CDs were expressed early and often. Here with VPI's Harry Weisfeld. It’s a nerdy question, but do you remember where you were when you heard your first Compact Disc? For me it was at a Los Angeles Audio Engineering Society convention in 1982.

I’m neither a recording engineer nor an AES member. My invitation was courtesy the head of the sound department at Walt Disney, where I was then supervising the soundtrack to the movie TRON.”

The day I learned Steve Hoffman was going to re-master Crosby, Stills & Nash for an Audio Fidelity gold CD edition turned out to be the same day he actually did it. I found out early enough in the day to secure an invitation to Marsh Mastering in Los Angeles, and because I happened to be staying with friends that day only an hour away, managed to arrive in time to witness the entire session. CS&N has been a favorite since I was a teen, so for me, this was like winning the lottery.

How bad were the original Beatles CDs issued back in 1987? So bad that even the clueless conditioned to believe that CDs represented an automatic sonic step up from vinyl noticed something was terribly wrong.

Amusing to some observers was the nature of the complaints: “they sound tinny,” “they sound flat,” “they sound thin and bright,” “they’re harsh and edgy,” “where’s the warmth?” etc.