As our gear is definitely better than what was around for vintage LPs, one has to decide just how much 'better' is good, or perhaps if it should be left alone. One can buy a copy of the originally-issued LP and hear how it was first envisioned by the producer and the artist and know that sound was once approved. "Remastering a catalogue album has different issues. "Often, a good mastering engineer can take the original mixes, on which the artist and producer had worked very hard, and come up with a sound that is literally transformational something the producer may not have believed possible.
It is also important to determine what direction the artist wants to take do they want lots of dynamics, or do they want it crushingly loud, etc?" Thus creating something new from nothing. Working on a new album means hearing the raw mixes and then hearing in my head how I think it should sound, and then knowing what gear and knobs to use to make it sound that way in real life. "It's harder to master a new album because there is no 'pre-approved' standard that everyone liked at some point (as the remastered albums have). That was the best pedigree for a reference."ĭo you think it's more difficult to remaster an existing album that everyone knows than it is to master a new one, or vice versa?
For me, the goal of remastering these iconic albums in high-resolution digital for the future was to make them sound as good as I possibly could, yet paying close attention to the sound of vintage LP copies of the originals that we know were definitely approved by the artist before their initial release. "In the past they were originally mastered for vinyl and cassette and, later, compact disc.
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