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j j wrote:Yes that Come Along/Truths & Rights is bloody good C Flames
RB is there any chance you will be doing more I Roy's? Do you have access to all the tracks that are on the Musical Shark Attack LP?
tweeter box wrote:big up RB some nice releases there, that second lost at the start of seperation could possibly be selotape where the tape has been rejoined but this could only be confirmed with a picture
quick question, the vocal sounds crisp and consistant but why does the version sound like it has been played with so much parametric, the tops are very loud and not EQed correctly, you can also hear a slight crackle in the background which is very consistant which reminds me of a crackle in a record at every rotation, could a parametric have been used to raise the tops frequency to cover the crackle? also the BPM of the vocal is different to the dub, could the "mastertape" have stretched
why do your releases get so much negative feedback and have some many things wrong with them yet you still release them? im not having a go at you jus asking after all this is a forum !
is it possible for somebody to upload short soundclips with no eq of the vocal and the dub pls?
RB wrote:backhanded post of the year there. hilarious.
ironically, there actually are pictures of lots of mastertapes on our facebook page, but they're only there because i think they're cool to look at, not to prove anything to anyone.
that's actually a good suggestion, the 'blip' in separation being a bad splice. however, that's not the case b/c i have the tune from two different master tapes (identical mix), and that blip is in both. it's something that happened during recording i'm sure, but i'm not knowledgeable enough to say what...some kind of tape lag or 'jump' i guess, dunno.
as i've already said, to me that miniscule flaw is negligible, especially within an otherwise almost-pristine straight-from-tape tune. i really don't know what to say to anyone who feels the record ruined by that, other than to each his own, and "bummer for you." sincerely, no sarcasm.
beyond that all i can say is that if you've spent time working with and listening to tapes from the 70s and 80s, you'll know it when you hear it. further, if you know something about how the music of this era was recorded, mixed, and cut (for vinyl and dubplate) in Jamaica, then you'll know what you're hearing even better. barring that, let's just say, "don't buy records you think don't sound good." some solid free advice there.
also, as if it wasn't obvious enough, the 'separation' vocal & dub are not from the same tape, so sonically they're not the same.
a little background on these tony tuff tunes, both of them were recorded as part of a (unreleased) Tony Tuff LP for Channel One. neither tune ever had proper dub mixes committed to tape, because they were meant as LP tracks. hence you get the Revolutionaries dub LP cut for 'come along'. the 'separation' dub is very obviously a '2-track' dub, which for those who don't know what that means, is a dub mixed from the final mixdown 2-track tape, where generally the finished/mixed rhythm is one track and the vocal on the other. so the only mixing that can be done off this tape is dropping the vocal in & out and putting effects on one of the 2-tracks - either the vocal or the finished rhythm (not the individual instruments, as would happen with a 4 or more multi-track tape). with dub cuts and/or instrumental tunes on 2-track tape, you generally find the drums & bass on one track, and the rest on the other, or sometimes, the horns on one track, and everything else on the other (common b/c horns are often 'overdubbed' - i.e. recorded after the rest of the tune is laid).
i find it hard to take the armchair expert criticism and conspiracy theories of a guy who doesn't even know how records are made...in a previous accusation, you made it clear that you didn't actually know what a mother or stamper was, and asked if we "edited" the stamper, a solid metal disc machine part, for the Freddy McKay 12". i think i will stick with the skills and advice of our mastering engineer who's been cutting reggae for longer than i've been alive and cut the masters straight from tape, for hundreds of records on some of my favorite labels like Jah Guidance, Volcano, Hitbound, Bebo's, Ruddy's Music, Black Victory, Eclipse, and on and on and on.
to answer your question about why do i keep putting out "bad quality records that get so many complaints", for the answer to that, i will refer you to the thousands of satisfied record buyers, and the NB on our website -
NB: In the production of these records, every effort has been made to utilize master tapes whenever possible. However, in some cases the master tape no longer exists or is in unusable condition. Therefore, some selections have been repressed from original stampers (where we felt their wear was not a major detriment), or have been carefully remastered from very rare but unfortunately imperfect original press vinyl copies. Even with a highly skilled and experienced reggae mastering engineer and the most modern audio soft/hardware, in some instances the results can still leave something to be desired, even for the most welcoming ears. In these cases we believe that the rarity, and more importantly, quality of the music will carry you through. Enjoy!
really though, if you think these records are bad and i'm a liar, just don't buy them.
tweeter box wrote:could a parametric have been used to raise the tops frequency to cover the crackle?
skunkride wrote:tweeter box wrote:could a parametric have been used to raise the tops frequency to cover the crackle?
Just for general knowledge, if you want to reduce crackle you have to cut the high frequencies as boosting them would just make the crackle stand out more.
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