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Author Topic: Pet Sounds 2012 CD Remaster  (Read 12376 times)
c-man
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« on: September 17, 2014, 09:43:16 AM »

Since I have yet to purchase it, would someone please describe how this remaster sounds compared to the '96/'99/'01 and 2006 varieties? I find the '96-'01 mono version to be really good, and the 2006 version to be smoother still in some places, but harsher in others (particularly WIBN and a couple of other tracks, where my apparent tinnitis is really triggered by the higher frequencies).
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« Reply #1 on: September 17, 2014, 02:07:57 PM »

Since I have yet to purchase it, would someone please describe how this remaster sounds compared to the '96/'99/'01 and 2006 varieties? I find the '96-'01 mono version to be really good, and the 2006 version to be smoother still in some places, but harsher in others (particularly WIBN and a couple of other tracks, where my apparent tinnitis is really triggered by the higher frequencies).

Sonically, I’d go with the original “Pet Sounds Sessions” boxed set for the stereo mix. Not mastered too loudly. It’s still my favorite work sonically from Mark Linett. Impeccable.

For the mono mix, I’d go with the Hoffman-mastered Audio Fidelity CD from a few years ago. It’s out of print; I’m not sure how much it’s fetching these days. But it’s the “smoothest” to me, and has the both “breath of life” or whatever one wants to call it. He leaves the freaking tape alone and doesn’t futz with it too much. He also of course doesn’t master as loudly as the major labels in most cases, so that’s a plus as well.

I’d probably say the MFSL CD of the stereo mix (is this one still in print?) is the best apart from the original 1996 boxed set (the MFSL of course uses the later “tweaks” made to a few songs) , and it does have the SACD layer for those into the high-rez.

I’ve still meant to hear Andrew Sandoval’s mastering of the mono mix on the original 1999 “two-fer”, but haven’t gotten around to it. I’ve heard good things about that relative to other issues of the mono mix.

And yes, I realize this doesn’t answer your question about the 2012 CD. I can’t really justify buying another copy of the album, with the possible exception of a potential Kevin Gray SACD or another attempt from Hoffman. I’m not a big fan of the mastering of the 2012 CDs I’ve heard. Some of the stereo remixes are nice (though many still have excessive reverb), but the actual mastering is still too loud.
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« Reply #2 on: September 17, 2014, 05:27:12 PM »

Since I have yet to purchase it, would someone please describe how this remaster sounds compared to the '96/'99/'01 and 2006 varieties? I find the '96-'01 mono version to be really good, and the 2006 version to be smoother still in some places, but harsher in others (particularly WIBN and a couple of other tracks, where my apparent tinnitis is really triggered by the higher frequencies).

Sonically, I’d go with the original “Pet Sounds Sessions” boxed set for the stereo mix. Not mastered too loudly. It’s still my favorite work sonically from Mark Linett. Impeccable.

For the mono mix, I’d go with the Hoffman-mastered Audio Fidelity CD from a few years ago. It’s out of print; I’m not sure how much it’s fetching these days. But it’s the “smoothest” to me, and has the both “breath of life” or whatever one wants to call it. He leaves the freaking tape alone and doesn’t futz with it too much. He also of course doesn’t master as loudly as the major labels in most cases, so that’s a plus as well.

I’d probably say the MFSL CD of the stereo mix (is this one still in print?) is the best apart from the original 1996 boxed set (the MFSL of course uses the later “tweaks” made to a few songs) , and it does have the SACD layer for those into the high-rez.

I’ve still meant to hear Andrew Sandoval’s mastering of the mono mix on the original 1999 “two-fer”, but haven’t gotten around to it. I’ve heard good things about that relative to other issues of the mono mix.

And yes, I realize this doesn’t answer your question about the 2012 CD. I can’t really justify buying another copy of the album, with the possible exception of a potential Kevin Gray SACD or another attempt from Hoffman. I’m not a big fan of the mastering of the 2012 CDs I’ve heard. Some of the stereo remixes are nice (though many still have excessive reverb), but the actual mastering is still too loud.

The best release of the mono version is still the 1972 Brother/Reprise vinyl. There are a few rips of it floating around on the Internet if you want a digital version. There is not one Capitol version, vinyl or CD that sounds very good to my ears. As mentioned, both of Steve Hoffman's Mastered CD's sound good too. They are the 1993 DCC and the 2007 or so Audio Fidelity releases.
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« Reply #3 on: September 17, 2014, 08:28:04 PM »

Thanks, I realize what you're saying, but I'm really looking for someone to answer my question about how the 2012 remaster stacks up against the others...assuming there's anyone here who's actually heard it...?
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« Reply #4 on: September 17, 2014, 09:10:19 PM »

I have FLAC's of the 2012 Remaster series. Since my turntable is currently inoperable with cobwebs on it and a dead spider hanging upside down between the stylus and platter, I will compare the 2012 Pet Sounds Remaster release to:

1. 1974 Pet Sounds vinyl needle drop Mp3 (same as the '72 release)
2. Pet Sounds DCC Gold CD
3. Pet Sounds Japanese Pastmasters FLAC
4. Pet Sounds 40th Anniversary CD

Film at 11.
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« Reply #5 on: September 18, 2014, 01:16:03 AM »

Thanks, I realize what you're saying, but I'm really looking for someone to answer my question about how the 2012 remaster stacks up against the others...assuming there's anyone here who's actually heard it...?
I'm getting the distinct impression there isn't
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« Reply #6 on: September 18, 2014, 04:03:47 AM »


I’ve still meant to hear Andrew Sandoval’s mastering of the mono mix on the original 1999 “two-fer”, but haven’t gotten around to it. I’ve heard good things about that relative to other issues of the mono mix.


Hey, HeyJude - I am ignorant of this AS mastered original 1999 twofer - what is the story, as far as you (or anyone else) know - thanks in a - a
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« Reply #7 on: September 18, 2014, 04:22:31 AM »

Thanks, I realize what you're saying, but I'm really looking for someone to answer my question about how the 2012 remaster stacks up against the others...assuming there's anyone here who's actually heard it...?
Amazon has it for $11.88. Only your ears can decide how good it sounds. All of the Capitol releases sound tinny and hurt my ears. As they say, your mileage may vary.
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Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
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« Reply #8 on: September 18, 2014, 04:29:14 AM »

The 2012 Remaster (speaking of the mono here) uses remixed song intros for several songs, etc.  It's not the true original, unfutzed with mono mix from 1966.  To get that you'll want the DCC or Audio Fidelity version.  Preferably the DCC.

On CD, it's the only way to go for Pet Sounds in mono, IMO.  The Pet Sounds Sessions box, disc 4 also uses the unfutzed with original mono mix.  But I think the transfer isn't the best and I'm not sure that the generation of tape used is as "high up the chain" so to speak, as the DCC from 1993.

Until these Kevin Gray Acoustic Sounds remasters come out (if ever) the best way to hear Pet Sounds in mono on CD is the DCC.  For Stereo, probably the 2012 Mobile Fidelity SACD.  I have heard nothing but good things about it.
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« Reply #9 on: September 18, 2014, 04:32:05 AM »


I’ve still meant to hear Andrew Sandoval’s mastering of the mono mix on the original 1999 “two-fer”, but haven’t gotten around to it. I’ve heard good things about that relative to other issues of the mono mix.


Hey, HeyJude - I am ignorant of this AS mastered original 1999 twofer - what is the story, as far as you (or anyone else) know - thanks in a - a

IIRC correctly, it doesn't sound bad at all.  Andrew Sandoval did that two-fer 2 years after the PSS box came out.  And then in 2001 the two-fer was redone by Linett with the only change being the bridge for "Wouldn't It Be Nice" stereo being "fixed".
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« Reply #10 on: September 18, 2014, 05:28:53 AM »


I’ve still meant to hear Andrew Sandoval’s mastering of the mono mix on the original 1999 “two-fer”, but haven’t gotten around to it. I’ve heard good things about that relative to other issues of the mono mix.


Hey, HeyJude - I am ignorant of this AS mastered original 1999 twofer - what is the story, as far as you (or anyone else) know - thanks in a - a

IIRC correctly, it doesn't sound bad at all.  Andrew Sandoval did that two-fer 2 years after the PSS box came out.  And then in 2001 the two-fer was redone by Linett with the only change being the bridge for "Wouldn't It Be Nice" stereo being "fixed".

OK, so the sad-strange Stiltskin-eseque trainspotter junvenille that dwells within me thinks any of the following were from the master mastered by Andrew Sandoval:

Pet Sounds ‎(CD, Album, RE, RM, Mono)                             Capitol Records                                         72435-21241-2-1                    US               1999    
Pet Sounds ‎(CD, Album)                                           Capitol Records                                         72435-21241-2-1                    Canada       1999    
Pet Sounds ‎(CD, Album, Club, RM, Mono)                     Capitol Records                                         72435-21241-2-1, D131646                US       1999    
Pet Sounds ‎(CD, Album, Club, RM)                                     Capitol Records                                         72435-21241-2-1                           US       1999    
Pet Sounds ‎(CD, Album)                                           Capitol Records                                         7243 5 21241 2 1                          Australia    1999    
Pet Sounds ‎(CD, Album)                                           Capitol Records                                         72435-21241-2-1                          Europe       1999

Anyone got one and can confirm (liner note sighting)?
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« Reply #11 on: September 18, 2014, 07:07:43 AM »


I’ve still meant to hear Andrew Sandoval’s mastering of the mono mix on the original 1999 “two-fer”, but haven’t gotten around to it. I’ve heard good things about that relative to other issues of the mono mix.


Hey, HeyJude - I am ignorant of this AS mastered original 1999 twofer - what is the story, as far as you (or anyone else) know - thanks in a - a

The 1999 Sandoval mastering was the first release of the stereo mix outside of the “Pet Sounds Sessions” box. But the main point of interest on this release as far as mastering is concerned is his unique remaster of the mono mix. This was the first CD to pair the mono and stereo mix on one CD.

Only two years later, this same two-fer was reissued yet again, with different masterings and, as someone else mentioned, the first “tweaks” to the stereo mix in the form of adding Mike’s vocal to the WIBN bridge.

Telling these two releases apart can be difficult, because early copies of the 2001 CD used the old backcard for the 1999 CD if I’m recalling correctly. So I would imagine some trial and error would be involved in confirming that what is actually on the disc is Sandoval’s mastering.

It’s more of a curiosity though. I actually prefer Sandoval’s work on the BB material he has done, but in the one case of PS, Hoffman’s remasters are the go-to for the mono mixes, so I’m not strongly motivated to track the Sandoval disc down on this one. 
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« Reply #12 on: September 18, 2014, 07:36:43 AM »

Thanks, I realize what you're saying, but I'm really looking for someone to answer my question about how the 2012 remaster stacks up against the others...assuming there's anyone here who's actually heard it...?
I'm getting the distinct impression there isn't

But.........there is.  I have it.  If you want, I'll send a FLAC of it to one of you dog-eared audiophiles and you can compare it to whatever you want, including vinyl versions, Sandoval versions, Linett versions, DCC version, or whatever.
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« Reply #13 on: September 18, 2014, 09:47:51 AM »


I’ve still meant to hear Andrew Sandoval’s mastering of the mono mix on the original 1999 “two-fer”, but haven’t gotten around to it. I’ve heard good things about that relative to other issues of the mono mix.


Hey, HeyJude - I am ignorant of this AS mastered original 1999 twofer - what is the story, as far as you (or anyone else) know - thanks in a - a

The 1999 Sandoval mastering was the first release of the stereo mix outside of the “Pet Sounds Sessions” box. But the main point of interest on this release as far as mastering is concerned is his unique remaster of the mono mix. This was the first CD to pair the mono and stereo mix on one CD.

Only two years later, this same two-fer was reissued yet again, with different masterings and, as someone else mentioned, the first “tweaks” to the stereo mix in the form of adding Mike’s vocal to the WIBN bridge.

Telling these two releases apart can be difficult, because early copies of the 2001 CD used the old backcard for the 1999 CD if I’m recalling correctly. So I would imagine some trial and error would be involved in confirming that what is actually on the disc is Sandoval’s mastering.

It’s more of a curiosity though. I actually prefer Sandoval’s work on the BB material he has done, but in the one case of PS, Hoffman’s remasters are the go-to for the mono mixes, so I’m not strongly motivated to track the Sandoval disc down on this one. 

IIRC, the back cover of the 1999 issue says that it is mastered by Andrew Sandoval. I'll check mine tonight and get back.
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Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
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« Reply #14 on: September 18, 2014, 07:13:44 PM »

I've read that Sandoval's mastering hosed up the HDCD encoding, in that it would trigger an HDCD player to play it, but not in true HDCD mode.

From "Here's a brief history of the Pet Sounds master tape: (from Bicycle Rider, October/November 2008)":
"The first mono/stereo version used the same 24 bit HDCD master (as the box set version) but according to Mark it was re-equalised (by Andrew Sandoval), thereby ruining the HDCD encoding, even though the disc would still trigger HDCD players. This version was pulled at the request of Mark Linett and Brian & Melinda, and the 2001 version, with proper HDCD encoding was issued."

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« Reply #15 on: September 19, 2014, 06:40:48 AM »

I've read that Sandoval's mastering hosed up the HDCD encoding, in that it would trigger an HDCD player to play it, but not in true HDCD mode.

From "Here's a brief history of the Pet Sounds master tape: (from Bicycle Rider, October/November 2008)":
"The first mono/stereo version used the same 24 bit HDCD master (as the box set version) but according to Mark it was re-equalised (by Andrew Sandoval), thereby ruining the HDCD encoding, even though the disc would still trigger HDCD players. This version was pulled at the request of Mark Linett and Brian & Melinda, and the 2001 version, with proper HDCD encoding was issued."


My recollection of discussion back then was that the Sandoval 1999 CD used a DAT copy of the stereo mix master (which is why I mentioned more or less ignoring the stereo mix on the CD). My recollection is also that Sandoval certainly wanted to master from the original analog tape (even though the '96 stereo mix was done digitally; the final mix down was to analog tape), but Capitol would not (or could not) supply him with the analog master, so he had to use a DAT backup.

Sandoval did not intend to make his version HDCD-encoded (which I and some industry folks believe is a largely useless process that doesn't improve sound quality, is certainly not "high rez" compared to SACD and the like, and some engineers that have been asked to encode their product with HDCD as largely a marketing gimmick have eventually discovered it actually hinders their mastering process and they have dropped use of it), but some HDCD flags were left on the CD inadvertently.

However, I believe the mono mix on that CD was mastered by Sandoval from the actual analog master tape. So, while the stereo mix on the CD is supposedly/allegedly just a digital clone of the stereo mix from the '96 set (not sure how much Sandoval even did to it in terms of any EQ), the mono mix is a unique mastering made from the analog master tape.

Apart from fixing the HDCD flag errors in encoding the '99 disc, I always felt the 2001 CD was simply a way to put the thing out again, because that whole team including Sandoval was being edged out of being the "BB team" working on reissues and archival releases, etc. I always felt the stuff like adding Mike's vocal to the bridge of WIBN on the 2001 CD was just a way to justify remastering and reissuing the entire CD again, rather than simply removing the erroneous HDCD flags.

But as I've been saying, I have pretty simple go-to versions for the album. For the stereo mix, the original '96 boxed set is perfect. Linett's work on that set is great. For the mono mix, nothing beats Steve Hoffman's Audio Fidelity disc (though his older DCC disc would be the next best thing; it used the same mastering ethos; Hoffman simply had better A/D converters all those years later when doing the Audio Fidelity disc).
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« Reply #16 on: September 19, 2014, 08:28:02 AM »

@HeyJude

Mike has stated in interviews that he pushed for the new 2001 remaster and to have his vocal inserted to the stereo mix of WIBN. I believe he stated that radio stations had begun to use the stereo mix and wanted his vocal on there instead of Brian's. That he wanted the stereo to be the same as the mono mix. I have Sandoval's 1999 CD and I don't think the mono version sounds any better than the other Capitol releases before it. I do agree that as far as CD's go, both the DCC & AF releases sound the best.
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And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
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« Reply #17 on: September 19, 2014, 08:41:26 AM »

I had the DCC version for a time and then sold it -- I'm not convinced that Hoffman's mastering is what folks believe it is. He seems to simply boost midrange at the expense of other frequencies, and then claim that's what's on tape. I suspect that's what some vinyl pressings sounded like, but that's not the same as saying that's what the original master tapes sound like.
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« Reply #18 on: September 19, 2014, 09:22:25 AM »

I had the DCC version for a time and then sold it -- I'm not convinced that Hoffman's mastering is what folks believe it is. He seems to simply boost midrange at the expense of other frequencies, and then claim that's what's on tape. I suspect that's what some vinyl pressings sounded like, but that's not the same as saying that's what the original master tapes sound like.
Honestly, I don't care what hocus pocus Hoffman does, as long as the results sound good. In the case of the mono Pet Sounds his hocus pocus did the trick.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
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« Reply #19 on: September 19, 2014, 09:33:16 AM »

@HeyJude

Mike has stated in interviews that he pushed for the new 2001 remaster and to have his vocal inserted to the stereo mix of WIBN. I believe he stated that radio stations had begun to use the stereo mix and wanted his vocal on there instead of Brian's. That he wanted the stereo to be the same as the mono mix. I have Sandoval's 1999 CD and I don't think the mono version sounds any better than the other Capitol release before it. I do agree that as far as CD's go, both the DCC & AF releases sound the best.

I recall hearing that "radio stations playing the wrong version" was one of the justifications. I don't recall Mike himself mentioning this, but if there's an interview out there, I'd be curious to read it.
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« Reply #20 on: September 19, 2014, 09:44:22 AM »

I had the DCC version for a time and then sold it -- I'm not convinced that Hoffman's mastering is what folks believe it is. He seems to simply boost midrange at the expense of other frequencies, and then claim that's what's on tape. I suspect that's what some vinyl pressings sounded like, but that's not the same as saying that's what the original master tapes sound like.

"Pet Sounds" is not what I would use as the greatest example of Hoffman's work, simply due to the inherent somewhat murky sound of the mono mix in some cases.

But his work on many releases is revelatory. I would probably hold up his mastering of "McCartney" as the best example of how he lets the inherent warmth of the recording speak for itself. Another great CD of his is the DCC job on ELO's "Eldorado." His DCC versions of "Endless Summer" and "Spirit of America" sound great too.

But Hoffman has discussed to varying degrees his angle and general attitude towards mastering things, and "Pet Sounds" in particular. So I don't think he's lying about how he's mastering these things. He doesn't give away every detailed "mastering move" he has. But when he, for instance, says he does more or less a flat transfer of a tape, I don't think he's lying and secretly using a bunch of trickery to achieve the sound. In some cases, he has mastered something and left it sounding like what the original tape sounds like, and there's almost a backlash because it sounds nothing like what the old vinyl or previous CD's have sounded like. His version of Billy Joel's "52nd Street" for instance sounds markedly different than any other version, but that's apparently what the tape sounds like.

Very few folks have handled these master tapes and heard them played back with no futzing, but this guy has. I don't have a huge ton of his CD's, but every CD I have that he's mastered has been reliably excellent, which is something I can't say for most artists' catalog across the board. But I'm not one of the sycophant Hoffman boosters. I don't just buy stuff because his name is on it. I just pick up the stuff he does for artists I like.
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« Reply #21 on: September 19, 2014, 12:29:10 PM »

IIRC, Mark Linett has said that the PS tapes don't sound like the Hoffman discs.

Edit -- see my later post. I seem to have dreamed this comment up.
« Last Edit: September 19, 2014, 08:38:14 PM by Wirestone » Logged
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« Reply #22 on: September 19, 2014, 01:24:40 PM »

IIRC, Mark Linett has said that the PS tapes don't sound like the Hoffman discs.

If the two engineers are literally calling each other mistaken (or worse), and I'm not saying they've specifically called each other out on that issue, I have to call it a wash at best in terms of who I'm supposed to believe. Here is a post from Hoffman regarding his Audio Fidelity disc:

http://forums.stevehoffman.tv/threads/mastering-beach-boys-pet-sounds-again-leaving-the-2-db-step-fades-intact.171692/

I find it hard to believe he's making any of that up, and to the degree I can trust my ears when listening to the plethora of attempts to master the mono mix, what I hear on his discs sounds the least futzed-with. A quick excerpt:

So, there you go. When you hear the new Audio Fidelity PET SOUNDS you will hear the wacky fades just as they were done in the studio by Chuck Britz and Brian Wilson (and incidentally just as they appear on the ORIGINAL first Capitol LP cutting). I have used NO noise reduction of any kind and no compression, limiting or anything of a compromising nature on this mastering. It is as pure as possible; there isn't even a mastering console in use, just the playback deck to the recorder with nothing in between.

Now, sometimes purely "flat" doesn't sound the best, but in this case not only does his description sound like a very pure mastering in terms of procedure, it also happens to sound the best to my ears.
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« Reply #23 on: September 19, 2014, 03:29:17 PM »

IIRC, Mark Linett has said that the PS tapes don't sound like the Hoffman discs.

If the two engineers are literally calling each other mistaken (or worse), and I'm not saying they've specifically called each other out on that issue, I have to call it a wash at best in terms of who I'm supposed to believe. Here is a post from Hoffman regarding his Audio Fidelity disc:

http://forums.stevehoffman.tv/threads/mastering-beach-boys-pet-sounds-again-leaving-the-2-db-step-fades-intact.171692/

I find it hard to believe he's making any of that up, and to the degree I can trust my ears when listening to the plethora of attempts to master the mono mix, what I hear on his discs sounds the least futzed-with. A quick excerpt:

So, there you go. When you hear the new Audio Fidelity PET SOUNDS you will hear the wacky fades just as they were done in the studio by Chuck Britz and Brian Wilson (and incidentally just as they appear on the ORIGINAL first Capitol LP cutting). I have used NO noise reduction of any kind and no compression, limiting or anything of a compromising nature on this mastering. It is as pure as possible; there isn't even a mastering console in use, just the playback deck to the recorder with nothing in between.

Now, sometimes purely "flat" doesn't sound the best, but in this case not only does his description sound like a very pure mastering in terms of procedure, it also happens to sound the best to my ears.


For those who may be interested in some geeky additional info addding to Hey Jude's post above, when Steve Hoffman was quoted (on January 15, 2009) as saying:

So, there you go. When you hear the new Audio Fidelity PET SOUNDS  ...  there isn't even a mastering console in use, just the playback deck to the recorder with nothing in between.

He isn't saying that he simply played back the original Pet Sounds master tape straight to a recorder for that release, but that he played back a 30 ips analog tape that he made in 1992:

I have our half-inch mono head-stack 30 IPS AES Agfa-Gevaert full-bandwidth transfer that I made back in October or so of 1992 and consider it the best and most accurate version of the original release that exists in the world, having cobbled it together with the correct mixes for all songs including WOULDN'T IT BE NICE and a few bits and pieces of other songs that needed mending and my the new HDCD transfer is stone FLAT (neutral) as being played back on an Ampex ATR 100-2 with special vacuum tube electronics into our new A/D converter.

And that tape was an editing production in itself, made thusly:

October, 1992, the original tape of PET SOUNDS brought over to LRS and dubbed. First, to 30 ips, with a split to digital using full track headstack. Then, two track stack, left only. Then two track headstack right only. Second, tube playback to 30 ips, with a split to digital. Took about two and one-half hours and back to warehouse. A week later the safety came over. Same thing (not taking any chances). Since the safety was on Scotch 111 it played fine but we only used one song and a few tiny bits to fix missing parts, etc., also the train ending.

PET SOUNDS [was] edited together by me to make complete songs without oxide loss, major dropouts, etc. Minor dropouts I left alone. All those little console noises and buzzing sounds on the original we just left on there (the 1990 CD "No-Noised" EVERYTHING out, even some of the music percussive bits!) Our new restored masters were used to make the DCC Gold CD and the DCC LP. Most of the songs on the old original tape were totally shot, I mean the tape had curled to the point of disaster and parts of the intros and outros of some of the songs were just clear tape, the oxide had fallen off. Why? Not from overuse but just faulty storage and careless rewinding when the reels should have been slow wound. We had to pick parts of the song that would still play using the left or right channel of a two track machine and splice the segments together in mono to get one usable track. A pain. Nothing could have been cut from the original tape. Besides the drop outs it had the wrong version of the first song and no ending of the last song. We fixed it up and this week I breezed right through it in order, in real time. Got the test today and it's perfect (for me).


And concerning the DCC version vs the Audio Fidelity version:

I didn't help the fades at all and the playback deck is different, the wiring is different and the A/D is different. This version will sound, er, different. Could be fun to compare but if you already have the DCC PET SOUNDS no one is asking you to run out and buy another one. But let's give the people who don't have the DCC and want to hear the original mix that Brian made A CHANCE to hear it as he heard it in the studio.

« Last Edit: September 19, 2014, 03:31:25 PM by Custom Machine » Logged
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« Reply #24 on: September 19, 2014, 07:02:04 PM »

I find it hard to believe he's making any of that up, and to the degree I can trust my ears when listening to the plethora of attempts to master the mono mix, what I hear on his discs sounds the least futzed-with.

How can you make that determination without having heard the tapes themselves?
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