*Some* of the multitracks have gone missing.That's why I asked. I thought the Aja masters were lost.
I don't know the status of the two-track master tapes.
*Some* of the multitracks have gone missing.That's why I asked. I thought the Aja masters were lost.
How does that even happen?!?!A word of warning to anyone thinking about buying the Countdown to Ecstasy SACD: the final three tracks (My Old School, Pearl of the Quarter and King of the World) are all between 2-3% too fast - enough of a difference to be noticeable if you're familiar with the music - compared to all previous CD reissues.
Perhaps @humprof can chime in here as to which one is "correct", but it's my understanding that the original LP releases of this album in the '70s had this same problem, but when Roger Nichols did the CD reissues in the '80s he corrected the problem, and all subsequent reissues (which apparently stemmed from those early '80s digital transfers) had the slower/longer running times.
As this album has been remastered and rereleased a thousand times over the years I suspect the two-track masters are just fine.*Some* of the multitracks have gone missing.
I don't know the status of the two-track master tapes.
As this album has been remastered and rereleased a thousand times over the years I suspect the two-track masters are just fine.
What? You mean I'm not getting "original masters" from MFSL and other companies?Roger Nichols transferred them to digital decades ago for safekeeping, so I can't say if they've ever been accessed since.
Roger Nichols transferred them to digital decades ago for safekeeping, so I can't say if they've ever been accessed since.
The story that Josh Mound tells at AudiophileStyle is that when Nichols first digitized all the analog stereo masters in 1981 or 82, the B-side of Aja "couldn't be found," so he had to use his personal copy. (See this Sound on Sound column from 2006. Also: it emerges in Josh's postscript that even by the early 80s, the Aja tapes were already in bad shape because they'd been used repeatedly to make lacquer masters.)What? You mean I'm not getting "original masters" from MFSL and other companies?
Meanwhile the folks at The Midnight Special have just added this little gem to their YouTube channel:
If that transfer is what preceded the Gaucho 5.1, I commend him for his work! I certainly don’t hear any dropouts.Postscript: I stumbled onto a 2013 Gearspace thread where Steve Genewick talks about having "transferred Aja and Gaucho for Elliott a long time ago." "The shedding was massive," he said, "even after baking. I was literally scrapping [sic] tape off the heads after every song." Downthread someone asked: "I heard that your transfers were the last to be done - or did you transfer to another multitrack for Archival purposes?" He never replied.
Yeah I wonder what song they were tuning up for next was.....Oh man, that was amazing. Just killer. Talk about a tight band. Sheesh
Meanwhile the folks at The Midnight Special have just added this little gem to their YouTube channel:
I just read 6 pages of this thread, informative.Over the weekend I did a quick comparison with the Citizen Steely Dan CD I have and the new SACD. If you’re sensitive to pitch changes, listening to the first bar or so of Pearl of the Quarter back to back between the two CDs is very, very noticeable... painfully so. I don’t notice as much on the other two songs.
Those three songs do have the biggest time difference between versions.
Still wondering if anyone has knowledge about my above question.8 X 35 = $280.00 plus tax.
I have Japanese SHM SACD's of Gaucho, Aja, Pretzel Logic, and Countdown To Ecstasy.
I have 5.1 of Gaucho and Two Against Nature.
So I would need Katy Lied and the Royal Scam.
But I also have secret versions of those.
Is there any convincing knowledge that the AP versions at $280.00 would be worth it. Like phase correction or stuff like that?
I guess it would be wait and see as I don't like being the guinea pig anymore.
This is fellow QQ member Plan9's personal observations on which mastering he preferred taken from a thread on the subject on SH.tv:I just read 6 pages of this thread, informative.
I was surprised that @Blackwood was only one to do an actual comparison and that is what I am trying to find out.
I did purchase the AP SACD of Can't Buy A Thrill and received it yesterday just to add missing to my collection.
Still wondering if anyone has knowledge about my above question.
I remember when Jeff Beck's Blow By Blow had a Japanese 7" SACD release and then AP came out with a corrected phase SACD of Blow By Blow.
So why would a collector, choose to add these current AP SACD stereo releases? This page AP 9 titles still available SACD
You might check this thread on Hoffman:I just read 6 pages of this thread, informative.
I was surprised that @Blackwood was only one to do an actual comparison and that is what I am trying to find out.
I did purchase the AP SACD of Can't Buy A Thrill and received it yesterday just to add missing to my collection.
Still wondering if anyone has knowledge about my above question.
I remember when Jeff Beck's Blow By Blow had a Japanese 7" SACD release and then AP came out with a corrected phase SACD of Blow By Blow.
So why would a collector, choose to add these current AP SACD stereo releases? This page AP 9 titles still available SACD
https://store.acousticsounds.com/index.cfm?get=results&searchtext=steely dan&CategoryID=4@marpow Whatever link you just tried to send didn't work, btw.
If you have the patience, there's also this thread at Hoffman:You might check this thread on Hoffman:
https://forums.stevehoffman.tv/threads/steely-dan-ap-sacd-sound-quality-only-discussion.1165691/
And that points to this interesting post:
https://audiophilestyle.com/blogs/entry/844-mini-tbvo-steely-dans-cant-buy-a-thrill/
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