MK wrote:Tate: I did a quickie, 10-minute cheap-o mastering job on [#1 Record]. I took out about 6 dB at 12k (maybe 10k or 8k, I can’t remember…) [and it was] still bright so I did a few other top end tweaks and ran the whole thing to CD. Much easier (and smoother) sounding now. Could still use more work but it’s better than the SACD at least. Youch! That’s bright!
Steve: I did a one minute quickie on it and tried taking some out at the usual ‘pressure points’ of 10k, 8k, 5k, 3k and added something at like 500 cycles, 250 cycles, 80 cycles and 40 cycles. Didn’t really put much of a dent in it. Amazingly screechy mix. I don’t know what engineer john Fry was using as mix monitors but I bet the tweeters were disconnected or something. Urggh…I have a Hound Dog Taylor and the Houserockers Lp that he mixed and it has the same screech. I think that –8 at 10k would be a good start for ANY Ardent mix around that time period.
Shit, they weren't kidding. Steve's right, -8 at 10k is needed at the very least. It's still sharp and pretty bright, but this shit would be headache inducing without it. The bass is pretty light, so try adding 2 dB at 100 cycles.
BTW, I'm talking about the SACD. Supposedly the top end was left alone for it, at least for #1 Record
. Radio City
may have a small boost.
As for Radio City, it's easier on the ears. It's still toppy, but again, you don't want to compromise it too much 'cause that's part of the album's charm so I'd take out 3, maybe 4 at 10k.
Actually, let me amend that. On Radio City
, it varies a bit. Taking out 3 or 4 at 10k for "I'm In Love With A Girl" works just fine. It's not nearly as harsh, possibly because it's a soft, acoustic song and they didn't feel the need to jack up the highs, but "Back Of A Car" and "September Gurls," you'll probably need a whole lot more...try -6 at 10k.
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