Senior HTF Member
- Aug 30, 2001
- Atlanta, Georgia
- Real Name
MusicTAP: Why did you choose the controversial option of converting The Rolling Stones master tapes to PCM for editing before transferring them to DSD? What were the benefits and the drawbacks?
Bob Ludwig: I did not choose a thing, I had zero to do with that decision.
ABKCO had embarked on an archiving program of their master tapes to DSD. When they decided to do the Stones re-mastered set they decided to send me masters that were already quality controlled for no drop-outs, no sticky splices, best source, etc. etc. It took about 4 months of fitting it into my schedule as it was, if I had be given the analog sources, which I would have been glad to work with, it would have been intolerably expensive and much longer. I was pleased to work with the SACD tapes, it kept me much more fresh for the important creative work and not bog me down with the physical decisions. With the Meitner converters on the most high resolution monitoring system one can not reliably pick the master vs. the copy.
The team worked with the original analog master tapes from vaults in New York, San Francisco, Chicago and Los Angeles and used the masters for analog to DSD tape transfers.From the HFR story, so on Sam Cooke we have no PCM. I will buy some and review.
See full story at:
what exactly does a mastering engineer do after that?There can be editing and track selection, some fiddling with EQ which I frown upon, some level adjustments, track sequencing, etc. Sometimes different takes of same piece are spliced together for a best of performance which has seamless editing - I prefer my jazz to be the same take usually though. The end result is usually to record the final product to a UMatic tape for shipping to JVC or some disc replicator. They also can be integral in the multi-channel creation on the SACD or DVDA.
Check out the Mastering Board site by Glenn Meadows for more details...
Also see Bob Katz' site at www.digido.com