MARLEY

DON'T WORRY ABOUT IT DAVE JUST STICK WITH YOUR SOULESS CD's.

Please don’t bring the same circular argument to this thread, Dave. It’s getting like trolling and spoiling the forum. There are so many other things to talk about, especially with your experience.

It wasn’t baiting, if you look, it was a response to your post above.

“So you lose even more bass to get suspect highs... Ah well!”


You keep taking every thread in this direction. Andre’s post was also 17 hours old and set in the context of what happened in the fuzzies thread.

I hope you can see this.

I only havre one half speed master: Born To Run. It’s a big improvement on the cooking version.

I’ve never thought about buying any Bob Marley but I do kinda like most of what I’ve heard. When I was young, I was into Gregory Isaacs, Since then, I haven’t bought any reggae at all.

EMI used to cut DMM, which has to lose sub 60hz bass due to mod noise in the special cutting head. Highs were preserved well though and I like the later Alan Parsons albums cut that way (they're often flat to the edges without the thicker tapered 'ring' around the edge originally to stop scraping of the grooves if played on changers). Half speed cutting is admittedly an art in itself (Decca used to do this without telling anyone in the 60's I was told).

Anyway, although I'm not a huge Marley fan, I do appreciate the music he made and as I said above, when it moves me it really does, whatever the playback medium or gear used, the above track being one of them.

Maybe for another thread but memories jogged reading classic's post above -

I just remember a trip to Decca in Belsize Road, being shown the gear they worked with in use and hearing some classical stuff Chris was mastering (Studer analogue and very noisy digital reel-to-reel players back then which were so loud (a grinding harsh vibration, not quiet whirring as in fast winding an audio machine) they were encased in solid wooden boxes out on the corridor and rather hard toned B&W 801's set on their stands turned sideways to lift them a bit so the tweets were more at ear level and firing over the desk-bridge). More pertinent to this thread, I was shown onto the tape vault, a huge high room with floor to ceiling racks full of master tapes. I asked where the Decca recorded Stones ones were and the lady said - "Oh, down that isle on the left near the corner around four levels up" - or summat like that.. I suppose I could have done a mastering engineer's job after some audiophool de-programming, but being stuck in a hessian (or similar)-lined small room for eight hours a day didn't really appeal. Apologies for drifting again.

Big PMC's, Adams but not sure on the middle ones - what happened to the B&W 801's used as door stops quite often reportedly... Decca went over to Neumann lathes in 1970 and raved about them but not sure if they continued with half speed mastering. Like Miles, Chris hated messing with the sound, but sometimes 'helped' as regards pops at the beginning of tracks and in one case, a master half erased and very low in level (hiss was so low that increasing levs didn't affect it too much.

Sorry, digressing - must shut up but thanks to classic for posting that link by a master rather than a typical youtube amateur