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Leo Pard

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  1. Rod Stewart: The source is a second generation analog copy. And I assume everybody knows the Doors title is the REMIX?
  2. the source of the Every Picture 192 download on HDTracks is a safety copy of the original master. Not that they would tell you that.
  3. Thanks for your reply. Yes, I meant A/D convertors, sorry!<br /> <br /> I purchased a few of their 192/24 downloads and they sound very good indeed. <br /> <br /> I wonder how many generations removed their reel commercially produced tapes are from the original master tapes.<br /> <br /> And thankfully, they do not use heavy compression, from what I have heard so far. The transfers sound natural to me.<br /> <br /> Kind regards,<br /> <br /> LP
  4. Hi Daniel:<br /> <br /> If I may take the liberty of asking you if you are familiar with High Definition Tape Transfers? Thy use your DACs to make 192/24 archives of prerecorded commercial reel to reel tapes.<br /> <br /> They sound quite nice. I was wondering if you have heard their work?<br /> <br /> LP
  5. Hi Barry:<br /> <br /> I agree with every word of your post, and I believe most share your views on this matter.<br /> <br /> BTW, to clear up my posts from earlier, I believe it was Joe Gastwirt who did the "2nd Rd" of Hendrix remasters.
  6. Hi There:<br /> <br /> Yes, let me clarify.<br /> <br /> I am ALL for higher resolution recordings. But I really feel for most pop and rock, that it is not a make or break deal. You are talking about multi-track recordings mixed down with plug ins, effects, compression, limiting, panning, and EQ to create an artificial soundstage.<br /> <br /> (I'm not railing against it..I listen mostly to rock, jazz, pop etc.)<br /> <br /> My other main point is the promise of "hi-rez" has caused false expectations by audiophiles, and some of the vendors have royally screwed over their customers with the occasional upsampled slop...going back to the early days of SACD, and now through notable download sites.<br /> <br /> I too would opt for the best quality version of any given title. But when I compared true 96/24 downloads from HDtracks to the very same music on Redbook, I was incredibly underwhelmed. The diminishing returns when you go even higher than 96 are also apparent. <br /> <br /> Nothing against Chris. The thrust of my post was that I believe higher resolution archiving of analog recordings pays off big time, and is a better use of higher sampling rates than actually recording in it natively, specifically with music comprised of synthetic and amplified instruments. Acoustic music with minimal processing would see more benefits.<br /> <br />
  7. I too am a John Hiatt fan and ordered the plain old Redbook CD.<br /> <br /> This brings up a whole pet topic of mine. Audiophiles, especially on some of the other forums, are obsessed with sampling rates and "high resolution". <br /> <br /> They are utterly deluded as to the realities of the recording world.<br /> <br /> Sure, there are 176.4 and 192 recordings available all over the internet but I gotta tell you, esoteric chamber music and and obscure orchestral works do not make up the bulk of my listening. And HDTracks downsampled extractions of SACDs DVDs do not interest me.<br /> <br /> I don't listen to "sampling rates" and "bit depth" dammit, I listen to music. <br /> <br /> This absurd notion that 44.1/16 is somehow destroying the music has been floating around the audiophile community for years. I agree with statements here that it is ALL about recording quality and the care taken.<br /> <br /> Lastly, I am not surprised at your findings. One of the ultimate delusions of audiophiles who listen to pop and rock is that they don't seem to get the standard around most studios is 48/24 for a number of reasons. Incidentally, Hiatt recorded his previous album in DSD. <br /> <br /> Now I AM for analog tape transfers to at least 96/24. That pays big dividends.
  8. Man, I thought you did the second round of Hendrix remasters (there are a total of 4 remasters on that catalog!!!). Maybe I was thinking about CSN. I have over 4000 CDs so forgive me!<br /> <br /> I vaguely remember there was some controversy on one round of the Hendrix remasters due to the use of Sonic Solutions noise reduction on the digital transfers. <br /> <br /> But to your point, of course, opting out is of course an option. I would.<br /> <br /> On "loudness", compression, and other crimes against nature:<br /> <br /> It is such a simple concept...but when you have five gears...and you START in 5th gear...there is no where to go. But this concept goes out the door when you feel the majority of your customers are listening with white ear buds on noisy subways, airplanes, gyms, and while multi tasking.
  9. ..you are correct. Everyone is free to accept what they wish. But imagine being told you will never work again if speak out again about <br /> the loudness war. It is a tough situation to be in.<br /> <br /> Shipley and Mutt Lange actually tried to recall the last Maroon 5 record because they were horrified at what happened in the mastering stage. Shipley claimed it did not at all reflect the quality of the recording. They were told to go fuck themselves when they took action. Sad.<br /> <br /> I also should mention that I sent you an email many years ago with some basic questions about mastering and you were very kind to take the time to answer, even though at the time you were in the middle of many major label projects like the Marley and Hendrix remasters. I was just a nobody and you still responded.<br /> <br /> I think your body of work, even though I am sure in some cases you were not always able to work with first generation tapes, is stellar.<br /> <br /> Your input on the various forum's are very much appreciated!<br /> <br /> And thanks for the update!<br /> <br />
  10. Hi Mr. Barry:<br /> <br /> I happen to be a fan of your work. I have many CDs in my collection that you mastered and I always thought they were done with great restraint and respect fo the artist's intention.<br /> <br /> You make some good points, but sometimes there is railroading by the suits. Read the Mike Shipley profile in the July Sound on Sound.<br /> <br /> If only the music business was flooded with Barry Diament's! Dynamics, texture, a minimalist approach...what innovative concepts.<br /> <br /> Are you at liberty to say if you have any major artist projects on your plate, or any notable remasters?<br /> <br /> PLEASE keep fighting the good fight.<br />
  11. I strongly suggest you find a copy of the July issue of Sound on Sound.<br /> <br /> Read, with horror, mix engineer Mike Shipley's tale of submitting the last Maroon 5 album he produced with Mutt Lange, with great dynamics and an "anti-loudness" mix.<br /> <br /> When they received it back form the mastering studio they were utterly horrified. They actually tried to recall the album and stop production.<br /> <br /> They were told by the record company to shut their faces, to mind their own business, and that they knew better.<br /> <br /> Shipley vowed never to go through this again. He produced the new Alison Krauss and Union Station album, in 96/24 quality, with no compression on the stereo mix down, and he hand picked the mastering engineer who applied ZERO compression in the mastering suite.<br /> <br /> The moral of the story is you cannot always blame the producers, mastering engineers, or the artists.<br /> <br /> Bob Ludwig does great work..but how on earth do you explain Bruce Springsteen's Magic..or the Pearl Jam TEN remaster???<br /> <br /> Ludwig told the story of sending Axl Rose 5 different masters of Chinese Democracy..it went form mildly compressed...to squashed to death. He bit his knuckles waiting for the decision and was thrilled when Rose chose the least compressed version.
  12. For the record, I am not for the ripping of anybody or anything.<br /> <br /> But I will repeat..float a controversial opinion on someone who is highly respected, and expect blow back..positive and negative. <br /> <br /> I very much look forward to your Lion coverage. I have not made the leap yet..I am waiting for the dust to settle.<br /> <br /> FYI, I surf strictly via TOR proxy. <br /> <br /> Pard.
  13. You did say Rick Rubin is a member of a trio of "sonic destruction". So if you want to be nuanced in your denial, so be it.<br /> <br /> Listen, if you are going to offer such strong opinions publicly, get ready for the backlash and take it like a man. I don't particularly like the RHCPs but if I posted that publicly, I would be ready for the rabid, loyal fan base to rip me a new one. <br /> <br /> Your credibility already took a hit with that hysterical post about the Beatles catalog and 44.1 Khz after your trip to Abbey Road, BTW. You knew you could have done better than that, and so did we. <br /> <br /> Ah, so your "sources" are disgruntled Rubin employees and associates. Figures.<br /> <br /> Look, I think you do a good job and I am happy your website exists. I am actually wondering when you are going to go in depth on OS X Lion. <br /> <br /> Lastly:<br /> <br /> What is wrong with Monte Carlo? No taxes..scenery to die for..Grand Prix. You should visit some time. Pard. Leo Pard.
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