Some of the CDs in the following group may be slightly compromised in their transient clarity. Other recordings in this group do not depend on transient clarity for their musical value, and so they could be made hotter without an esthetic sacrifice. Producers should judge mastered product on its sound, not on intrinsic loudness, for we have learned that there is a limit above which a particular recording will suffer. And this limit varies for each style of recording, evidenced by the CDs that are above this line! In an ideal world, it would be polite to reduce the intrinsic loudness of this group for the benefit of all, but I doubt that I will see this in my lifetime!
-8 dB
3 Cheers for the Broken-Hearted – Glass Hammer
Mastered by Bob Katz, mixed by Steve Babb and Fred Schendel. Well-mixed classic-style progressive rock album, melodically beautiful, with lots of punch, warmth, clarity and dynamics and evocative lyrics. Plays well everywhere. Glass Hammer Website. Sound Resources, Tennessee, 2009.
Back in Black – AC/DC Remastered by Ted Jensen (no date). Engineered by Brad Samuelson. Produced by Mutt Lang. Newly digitally remastered from the original tapes. A great modern transparent digital transfer of some great rock. Hot with some bus compression as it starts to saturate on peaks, but ooooh the sound. Fabulous, conservatively mastered for max punch and impact with all compression intentional and generally not for intrinsic level. Though with a K12 monitor gain at -8 dB try not to use as a mix emulation or your result will likely get too squashed due to the use of mastering processing on this CD. I’m suggesting that mix engineers concentrate on the mix rather than on the intrinsic loudness, or there will likely be complaisant squashing and no room to fix anything in the mastering. ATCO, 92418-2, ©1980.
Bajando Gervasio – Amadito Valdes featuring Juan de Marcos’ Afro-Cuban All Stars
Mastered by Bob Katz, mixed by Juan Marcos Gonzales. Acoustically-oriented Latin-Jazz and traditional style recorded at Egrem Studios in Havana. Disco Caramba CRADX-2002, Tokyo, Japan. ©2002.
The Breaking of the World – Glass Hammer Mastered by Bob Katz, mixed by Steve Babb and Fred Schendel. This is probably the best-sounding and the most progressive Glass Hammer album to date. Nice jazz influence! Warm, clear, open, big, and microdynamic. Plays well everywhere. Glass Hammer Website. Sound Resources, Tennessee, ©2015.
Chinese Democracy – Guns N’ Roses Mastered by Bob Ludwig, in 2008 with no concerns for intrinsic level just going for “the sound” which is classic rock. The band loved it, the fans love it what’s not to like.©2008 Geffen Records.
Da Good, Da Bad, and Da Ugly – Geto Boys
Mastered by Mike Dean. Engineered by Mike Dean and Mr. Lee. A superb hip hop record to emulate sonically, but when going for a mix, go for the sound, not to match this recording’s intrinsic level. Dirty lyrics, but a clean sound. Very rich and well mixed Hip Hop album. This is not just a collection of old tired loops; it’s real hip. Rap-A-Lot Records,7243-8-46780-2, ©1998.
Diamonds and Rust– Joan Baez
Mastered by Mike Reese. Engineered by Rick Ruggieri. Clean and pretty remaster of a well recorded analog tape. A&M Records, D 3233, ©1975.
Kiss Me Kate – the new Broadway cast
Mastered by Alan Silverman. Engineered by Cynthia Daniels. I have always been split minded between the classical and the pop approach. This recording is an excellent example of the pop approach, yet even less squashed than many Broadway recordings of the 50’s thru 70’s. Personally, I think it would sound better if it were engineered for a lower intrinsic loudness, monitor gain -6dB or so. Why has Broadway joined the loudness race? DRG Records Inc., DRG 12988, ©2000.
The Low Spark of High Heeled Boys – Traffic
Remastered from the original tapes by Jeff Willens. Engineered by Brian Humphries. This CD deserves special merit for a very classy, clean modern technology digital transfer, very transparent, revealing a great, historic 1971 mix. Years of veils have been removed to show how well it could be done back then (but rarely duplicated). Monitor gain at -8 dB indicates that some (2dB likely) modern day limiting was used to raise the intrinsic loudness. The recording may or may not have suffered due to the limiting, but I do not have access to the master tape to say. This fabulous, clear and full 70’s early rock mix rivals anything that can be produced today. You can literally smell the hallucinogens in the air. Universal Music. 314548827-2, ©2002.
Messenger of Truth – Chris Beckers
Mastered by Errol Lem. Engineered by Chris Beckers. Very clean, but mastered a bit hot. It is on the verge of over-compression, but a compressed attitude is the style. This R&B/Rock influenced album is hot but not squashed. Like all the CDs which are monitored at -8 or -9 dB position, this is not to be emulated as a mix level, so as to avoid the loudness race. Cris Crazz Records, CCR-035, ©2001.
The Radiators
Mastered by Brad Blackwood. Engineered by Chris Polachack. Cool! Moderately compressed Blues Rock, with the compression used for effect, not loudness. Some reduction of transients to the dynamic range, but the end result is very pleasant and mellow, and can be played loud. Rattles by Records, RLB1001, ©1999.
Rage Against the Machine
Mastered by Bob Ludwig. Engineered by Andy Wallace. A heavy metal album that is not squashed, but amazingly loud on an intrinsic basis. Good dynamics, clean–let’s roll back the clock! How far we have come to have lost this sound quality! Epic, 2k 52959, ©1992.
The Shaming of the True – Kevin Gilbert
Rock, mastered by Ken Lee and John Cuniberti. Engineered by Kevin Gilbert. Superbly recorded, mixed and mastered with amazingly good dynamics for such a hot record. Kevin Gilbert was 50% of the genius behind Toy Matinee. KMG 3, The estate of Kevin Gilbert, www.kevingilbert.com, ©2000.
Toy Matinee Special Edition
Mastered aggressively by Steve Hall. Engineered by Bill Bottrell. Monitor gain at -8 dB to -9 dB. The CD was mastered hot, but not too squashed. I would not advise mixing to this level, but it represents an extreme of good mastering. Too hot for the loudness race (one of the reasons for its high intrinsic loudness is that it is very bright) but still with excellent production values. Unitone Recordings, 13702-4603-2, ©2001.
Wrecking Ball – Emmy Lou Harris
Mastered by Joe Gastwirt. Engineers include Malcolm Burn andMark Howard. When auditioned on a standard CD player, it sounds compressed at the top and the bottom and in fact, sounds severely over compressed. However, with an HDCD decoder, it reveals its excellent sound quality. If I didn’t have an HDCD decoder, I could not like the sound of this record. Asylum Records, 61854-2,© 1995.
-9 dB
Aenima – Tool
Mastered by Bob Ludwig. Engineered by David Bottrill. An example of a progressive metal CD for the 90’s that is not smashed to the wall. The squashing is for artistic effect rather than intrinsic loudness or mastering volume. A very large dynamic range makes it very attractive. Can be harsh when loud, but that is the sound. Volcano Entertainment, 61422-31087-2, ©1996.
Bele Bele en La Habana – Chucho Valdes
Mastered by Leon Zervos. Engineered by Jon Fausty. This is an excellent production of Latin Jazz. Obviously compressed either in mastering or mixing for a fat sound that brings up the inner voices. Some reduction of transients but the sound is fat, clean, and warm with a bit of attitude. Excellent imaging and dynamic range with fabulous playing by arguably the greatest living Cuban jazz pianist. Blue Note, CDP7243823083225, ©1998.
Belly of the Sun– Cassandra Wilson
Mastered by Greg Calbi, recorded and mixed by Danny Kopelson. Despite some squashing (not surprising at this intrinsic loudness), this album retains some nice sense of space, depth and clarity, and some real nice acoustic playing. Blue Note, 35072, © 2002.
Brand New Day – Sting
Mastered by Chris Blair. Engineered by Simon Osborne. Superb sound quality, one of the best sounding modern CDs. It is tonally well balanced, but on the bright side, and the vocals are too sibilant for my taste. Also note that like nearly every CD in this intrinsic loudness category, I firmly believe this CD would sound better, and more open if its intrinsic loudness were reduced from 2 to 3 dB. 3 dB would make it a K-14, taking it back to the masters of pre-1990 in the volume war and a welcome retreat if you ask me! A&M Records, 0694904432, ©1999.
Every Single Day – Lucy Kaplansky
Mastered by David Glasser. Engineered by Ben Wisch. This is a Contemporary Folk-Rock, but let’s not pigeonhole it–it’s Pop! Dynamic and exciting, but playable on any system, proving it can and should be done. Very strong and solid bottom end and proximity effect. WARNING: It is an HDCD, but it also sounds good on a regular CD player, meaning HDCD peak extension preset was not used or over used. Please don’t emulate the level when mixing, just use it to examine the sound quality of a well mastered contemporary record. The vocals lend to a warmth and attitude. Red House Records, RHR CD156, ©2001.
Ex. Nihilo – Mad Dog Trio
Mastered by Jeff Carroll. Engineered by Steve Graham. Alternative Rock with a Jazz influence. Fat Rock/Jazz sound. Loud, but not squished sound at -9 dB monitor gain. Definitely compressed with an attitude. www.maddogtrio.com, MD3032102, ©2002.
Korn
Mastered by Eddy Schreyer, mixed by Chuck Johnson. This is where modern heavy metal is headed, and it has amazing micro-dynamics for such a hot record. Varying from clean and tight to slammed against the wall, but the sonics and the music get along so well that it is even very listenable on a high-end mastering system. Amazing transients for such a hot record. I personally thought that some of the climaxes would have had more impact if they were not so limited. And after this came the loudness race–which is why you don’t see much heavy metal on the Honor Roll. Immortal/Epic Records, EK66633, ©1994.
Meant To Be – Ramsey Lewis and Nancy Wilson
Mastered by Trevor Sadler. Recorded and mixed by Danny Leake. Engineers kill to get this kind of sound: sweet, warm, fat, involving, spacious, and inviting–obtained through skillful and artistic use of class A analog gear. But half the battle is the charismatic performance by two old pros, which would have come through even if it were recorded with two tin cans and a piece of string! Monitor gain -8 or -9 dB, and thus the rhythmic aspect and transients are underplayed compared to the spatial virtues and tonality, yet still the vocal is clear and dynamic. If the producers had desired a more transient, rhythmic, quality, they could not have obtained it at this intrinsic loudness. Compare the sound of this disc with the Maria Muldaur and Shirley Horn, whose intrinsic loudness is at least 3 dB lower. I like the sound of both approaches, perhaps I’d take the Maria sound for “dinner and a show, and Nancy for “dessert!” Pointing out the virtues of my K-System proposal, which asks the mastering engineer to lower the output level of his processors so that the disc achieves an intrinsic loudness more in line with the vast majority, but without sacrificing this excellent sound. Would that be too much sophistication to ask of the 21st century of audio? Narada Jazz 72438-50774-2-5.
Pieces of the Sun – Tony Levin
Mastered by Trevor Sadler. Engineered by Kevin Killen. This is a very heavy progressive jazz-rock with synthesis and heavy bass. It’s a compressed sound but an interesting one at that. Spacious with considerable dynamic range (reminiscent of the Tool album). Sharp, strong, and compressed when loud, but not brick walled and at the next moment soft and delicate. Easy to listen to despite the hard rock moments. It is fat and not particularly clean, but that is the sound. Narada, 72438-11626-2-0, ©2002.
Speech Hoopla – promo CD
Mastered by Jay Frigoletto. Engineered by Blake Eiseman. R&B, Rap,Hip Hop sort of, but more melodic. Very clean, mastered hot, but not too squashed. One or two cuts are over processed, but others are superbly mixed/mastered for a good sound. Tut Records, 1970-2A,©1999, US Release.
Soul Power – Nadirah
Mastered by Jay Frigoletto. Engineered by Blake Eisman. This pumped-up R&B occasionally sounds over compressed, but overall it’s not squashed. I wish that more major R&B would be at this level or lower…
Soul Purpose – Alex Bugnon
Mastered by Trevor Sadler. Engineered by Michael Conrader. This CD is hot, but clean and clear modern day R&B/Jazz. It is moderately compressed with clean transients and has that fat, up front modern sound with impact. Narada, 72438-1134-2-4, ©2001.
You’re the One – Paul Simon
Mastered by Bob Ludwig. Engineered by Andy Smith. Solid and beating bass drum goes down to the center of the earth, but cleanly. This was a production decision and it’s pleasant, not overbearing. Very warm for an all digital production. Very sweet. Superb, clean, warm depth. A great album to emulate mix wise, very dynamic. HDCD but peak extension must not have been used, or not used excessively. Warner Brothers, 947844-2, ©2000.