Re: [RedHotJazz] Digest Number 9
- Hi Fred,
> I was talking last night to somebody who has recently discussed this problemI don't know in this case and posted the link in response to another request on this list. If it is a case of 1:1 digital copying, I guess a comparison of the graphical representations of wav files is sufficient. John RT Davies told me in a letter once that he was definitely able to prove authorship of his own restoration work and there was some discussion on 78-l which came to similar conclusions (the same pops, faults which evaded the restorer etc.).
> with Tony Engle, head of Topic Records. He tells me that Topic identify
> their remasterings, either by inserting a small and unnoticeable glich into the
> finished copy, or by tweaking the playing speed very slightly. This presumably
> is also undectable to the naked ear. At any rate, I can't imagine Reg Hall,
> who produces Topic's vintage Irish CDs, going along with anything which would
> affect the listening quality.
> Is this how Bear were able to sue the Carter family ? . Incidentally, I too
> have been searching for the Bear Family/JSP/Carter article without success. If
> you or anyone else on this list knows the website address, I'd be most
> obliged if you could post it.
> >In the case of Charley Patton, additional work was done on the reissue inI've been told this for a fact by someone who knows the engineer concerned. It's also been discussed in reviews of the JSP box where the candidates are mentioned by name.
> question (Revenant's): the caption "Masked Marvel" did really mean that
> additional work on the recordings had been done.<
> To be honest, I find that hard to credit. Didn't Airshow mastering win a
> grammy award for their work on the Revenant set ? Whether or no, it's difficult
> to imagine, given the financial constraints of a super-budget reissue, that
> JSP would have bothered trying to improve the sound any further.
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