[infiniti driver]

Nothing is perfect, no matter how hard we try. If you were to produce a record of one group, in one studio, with one engineer, in one setting, within one time frame, then you can have some consistancy. Sometimes  consistency ruins the art. Things sound "too much alike or the same".

When doing a compilation from several venues , several dates (some years apart) with several different settings (equipment and the way it is used) with several different acts, several different genres, then putting all that on one CD is quite an art. Anyone can put 13 songs on a CD. This is no problem. Getting them all to fit and flow as if they were supposed to follow each other with all the different circumstances...now that is my art. It is hard work. When I used to speak with Bernie Grundman (my old tutor in the 70's) He said, "compilations are a nightmare". He really did not say much else that stuck with me. I never met or talked to Doug Sax. I have written some things in interaction on Steve Hoffmans forum and George Massenburgs. These guys are the "deal" when it comes to cash flow in mastering. I have met some serious people in my life. Quincy Jones and yours truly spent hours on a console working a mix. So have I with Alan Parsons. Who the hell cares? I kinda do...because to be beside these folks means, you must know "something" about production, music, arrangement, engineering, mastering, marketing, consumers, vibe, talent, and song. I am not bragging here...I decided that this was what I could do, and I would do it. I met the "good guys" along the way. Wilson Turbinton (Willie Tee) that is featured on this album is a true Monster. He has played Piano for Stevie Wonder. Did a gig with Herbie Mann...that was HM's last live performance before he died. Worked with Zawunul. (I know Joe. Badd assed cat. His new club in Vienna opens the end of this month.)  Tee was Really good friends with Cannonball. (when he was alive) I mean, they bar-be-qued so many times it makes me hungry to think of it. We hung out! We are talking working with monsters. It rubs off. I am not going to bore you with all the folks I have met and worked with. It does not phase me at all (eletism views)..no matter who I deal with, I have a job to do and an art to preserve. I know folks that worship musicians. They are normal people with extraordinary talents..and they get noticed. That is the deal with me. I work for the preservation of the audio arts and the artists communicating their skills to your living room. It is good to know that being with these cats makes a DIFFERENCE!

As for this CD, this is the start of the W. Roberts Consortium recordings and productions. Their will be over 100 CD's total over the next decades. (Plus I am still recording as well) For every 12 recordings I do, I may get the rights to perhaps 1 or 2 songs.I have enough material to cover everything I ever recorded since my start in 1971 (~!~) of actual live recordings and they keep happening. I had to form a consortium in order to start this off right. It is fortunant that the very first issue is dedicated to Robert Smith of SP tech Loudspeakers. I have made it my life dream to be a loudspeaker designer and engineer and to form a company to set a new state of the art for the recording arts. Mr. Smith beat me to it (blush) and his products, I would be more than proud to have involvement in the design but I am not involved in it at all. Bob is about 7 years ahead of me...and when I first saw his speakers, I said "thats it". That is what the deal is. I happened to be a professional reviewer at the time. In loudspeaker design, I was so close, but yet, so far away. My designs incorporate MASSIVE cost in the enclosures and MASSIVE weight. What Bob does for 5K would cost you 50K in my designs and weigh about 12X more. I am happy to have made the recording arts my "mainstay" !

Loudspeaker design and building , is something I no longer practice with the amount of alloted free time I have. It requres so much practice that if you are not doing it full time, you lose the upper hand. To get where Bob is in this takes FULL TIME work. I took time off to do the recording arts. It is important to me. My reference loudspeakers (still documented) took over 100K in hard cash and 7 years of developent, to be surpassed by simplicity and execution of design. I no longer need go there. Who wants to pay 120K for my system when they can have Bobs for less than 30K (multiple SP's properly positioned). So, I am a mastering engineer, since I put 25 years+ into being a mastering engineer. Making it sound "proper: is my first love. Since the actual final of the recording is what determins what the loudspeakers will do, why be tied to recordings that suck? knowing how to make the chain of the recording come out satisfactory seemed to make much more of a difference to me than designing loudspesakers. Loudspeaker design knowledge certainly helps in this.  

So. All of you that have the CD coming, I wouild like to take time and explain some of the compromises I had to do with the art I did not have full control over. I hope this message board can handle all the info, since I think it is character limited, I think I will stop now, and carry on with the second post in DETAIL in a few hours after a good nights sleep. I have my notes and they are fresh. What I am going to attempt to do is tell you some info on how all these works came about and what was done and how, to get them where they are. As a consortium, I am obligated to document everything I do. This business requires serious dollars to pull it all off. Those who elected to purchase (the 3 of you) the CD, a huge percentage will go outside my domain to cover those who brought it to you. It is paid quarterly. I hope to make money...but only when a "bunch of albums" are working for us all.

I am seeking underwriters to see this thing through. I also endeviour in acoustics research and development with my day job. The owner has 5 patents on a "new way" to reproduce music. Since I am the chief technical directorate of the entire project, I hope it filters down to the music in my domain. We all can have fun with it. Afterall, this is about entertainment. Putting the musicians in your home and doing the time machine properly.

See ya tomorrow!!!

[infiniti driver]

Ok...Here is my critique of the album.

Track one, Spunky. As I said earlier, I always loved this track on vinyl. When building loudspeakers, this was a reference. That it was performed in 1979 first, it leans toward a disco beat with the usual Bob James "keys". The bass line is dynamic and the high frequency fades last a long time. this was transferred from analog to digital in 1996. (the massive Sony PCM3348) The transfer was quite good for its day. The mastering needed more dynamics though. In order to do this, I used very small amounts of 24 bit eq centerd around 47hz to give the kick more impact but at the same time, keep the kick from sounding colored. It only takes a 0.75dB boost to show more dynamics across the board. I chose it as track 1 because it still is one of my references. If anything, anytime is harsh on this recording, at almost any volume, you are listening to an inaccurate reproduction system, Very powerful, clean for 1981 release. I was dissapointed in the SACD version of it. I will not comment on why I was dissapointed other than to say it was TOO LOUD and the dynamics were not allowed to be like that of the vinyl. Also harsh and brittle sounding.

My remastering was quite involved, it shows. Listening now, killer!

Now...

It is reference quality for its date and time...still is IMHO.

Track 2.

This was remastered due to the fact that the good folks who mastered this must have had an uncalibrated system.  It was simply too bass heavy and too compressed. (dynamically) I had to turn the whole track down 7dB and work from there. I had to declipp the peaks by hand. Using my ears and not the spectrum analyzer, it "fit the pocket" with minimum adjustments on the eq. IF you image a strait line from 20 to 20K with a 5dB cut and a 2dB boost, it was that far off. See the picture below:




If you notice the waves in the picture, notice the dynamics. The CD you buy in the store has peaks running ot the top in most of the entire track.

This is about as good as it gets IMHO. Explosive impacts, sweet sound.

Complete remastering. Painfully involved!

Ok...More later...

[infiniti driver]

Track 3 , Raquel Turbinton "walk away". You would call this an R&B ballad. When Mark Hewitt mixed this, he must have used the big altec duplex 15's. Sibilance and pain in her voice. Kick drum leaning way over to the right. Cellos buried, dynamics squashed. I really know Mark can do stellar work and perhaps all this happened in the mastering. I loved the song and the execution by "Rocky". Willie Tee produced all the music behind the track. Rocky doubled her vocals on the lead and then did all the harmony as well. That this took place in 1996 before Raquels voice really matured, and speaks of how good she is now! When I was presented with this track, the first thing I had to do was to de-ess the vocals. This can be accomplished by either using a tool that looks at time and frequency and "decides" what needs to be attenuated and by how much based on a set of adjustable parameters. The de-essor ruined the track. I could not use it...instead, I had to go through and one by one mark off the trouble spots and hand edit them using my set of parameters and each one had a different set of rules for each ESSS. She has a chesty voice and serious range that excites the enclosures of many loudspeakers, not to mention she was "ringing the room and ringing the microphone" with her power. I paid much more attention to getting her vocal to sound "best" and let the track take back seat. Usually, I would asked for a remix or simply to get the vocals separate from the track so I could work on them separately. I almost left this track off the album but their was hope, it could be improved to a standard of non-embarrassment. One area that was a chore to redo was that of the level. It was not as simple as level matching with other tracks. This is a ballad, it is not supposed to be as loud as a full tilt concert bass drum at 36hz. I did not allow this track to even come close to peak level. It was not needed. I think the track "sounded better" louder but musically, it could not or should not be that loud. Ballads are not LOUD!!! I compromised to keep anyone from needing to touch their volume control. My intentions on this CD is for you to go directly to track 14, (the silence track) and set the level of the 3 tones as described in my other writings. Then, proceed to track one. Actually, if track one sounds "right", the others will too. Track 7 is as loud as you would expect a 60's rock band to play...so for the tender eared, you may want to tone that one down...but I think it fits nicely..it is not TOO loud. Anyway, Rockys' track is coming to a mailbox near you!

Beware of the infrasonics that happen going around the bridge, 16hz is down there folks.


Track 4 Willie Tee with his band doing "Song for Jilly"

This was done multitrack on stage before the concert. this was a dress rehearsal sound check. It is pretty strait up. Not much was done to this one. The drums are there and Uganda was all over the percussion. The guitar solo (Steve) was killer and Willie Tee is doing all keyboards and the bass line at the same time LIVE. The instuments are:

Kurzweil Mark 10
Kurzweil K2000
Drum Kit
Full array of percussion instuments
Flute Solos (they are hot)
Guitar (electric)
That is it. No overdubs, totally live.

If you catch Wille tee in New Orleans live and I am running the sound, it sounds just like this, in super fidelity always. (last note is a pedal 24hz)


Track 5. This is a 2 track live recording. How do you master a 2 track live recording? You dont! All this received was head and tail edits. the start and the stop. You decide, their are some magic moments, this is unadulterated pure powerful sound and incredible dynamics. It will take things to the limit...so hang on and enjoy the ride. At no time were the dynamics manipulated. What you hear is what you get.
Another edit. Their are three "clicks" at -46dB I could have edited them out. I wanted to leave them in because this is the master. Any manipulation to the wave file that can be avoided if it is close to perfect, is to be avoided. Accept the clicks as you would the baby crying and being escorted out. It was due to the climate control relays in the hall switching. If you can hear the subsonics of off and on, I take my hat off to you.


More edit

Track 5 Little Rock Wind Symphony
Guest Conductor:The legend: Colonel John Bourgeous
1999 Production Live 2 track/digital 16 bit
2002 Mastering
Time 15min:28sec .22
Genre: Wind symphony composition

Colonel John Bourgeous

Read this..........

http://www.musicbiz.loyno.edu/bios/cv/bourgeois.pdf


And this

http://www.sjws.org/bourgeois.htm

It is always exciting to see go to the American Bandmasters association masters meeting and see 60 professors play for a community band under his baton. He scares them! Meter problems with an Oboe after the intro....but the quiet bassoon work was my EX wife playing. Dynamic range is over 50dB signal to signal. Beware of this track. 800+ people were in attendance and it still is dead quiet at times. Talking about respect!

The crying baby escorted out was captured  Why folks go to a concert without getting a baby-sitter is beyond me, you can hear the hall door shut as well..it registered on the specturm analyzer at 4hz and the hall air conditioning was between 7 and 13hz. You want it all, it is here.


The poor Oboist was not having a good day, complete with the music getting knocked off the stand (Nervousness)...oh well, being frightened under the baton of Colonel John Bourgeous is nothing new.....

BEWARE!

[infiniti driver]

Track 6, Blue Shades. I certainly wanted to include the entire composition on the CD and may have been able to if I made the CD an 82 min. CD. Their are logistical and technical problems to avoid going past the 80 min mark. Some CD devices can become "stuck" reading way out there and even damaged. What I did was to edit a portion of the middle of the composition as an "excerpt" to enjoy. This was a 5 microphone recording. Mic 1/2 were the main A/B microphones and 3/4 were the X/Y microphones. Number 5 was shifted in time domain (phase) in order to match what timing cues were received with the other 4 microphone arrangements. Microphone number 5 was responsable for recording the lower brass and the Tubas. The "shock wave" from the concert bass drum was also captured with this microphone quite powerfully. The small amount of "hiss" you will hear on this track is due to the microphone preamplifiers. My Best sounding mic pres have a noise floor of -72dB. My Most expensive mic pres have a floor of -90 but the actual voicing of them are not a good match for a wind symphony. They tend to compress slightly when asked to amplify the highest outputs of the Bruel&Kjaer microphone system, 3529. Being that 5 mic pres were used, each of their noise floors "added up" to be slightly audible but not objectionable. The overall sound quality of this track would not be where it is now had I opted to go with a lower noise floor. At the top, big creshendo...mellowing down to a contra bass clarinet solo. Listen for the pads and keys popping and clicking on the flutes, clarinets and double reeds. The track then builds to a grand creshindo toward the ending. Powerful concert bass drum tuned to 36hz (C#) The position of the concert bass drum was proper for the recording and is located hard left of center. The tympani was located just a tad left of center. Reflections from the concert "shell" tend to make them wider than they appear on stage..and this is ok. Imaging of a wind symphomy is something that will never be practical because the stage itself is designed to "mix" all the instruments but proper placement can be "seen" on this track.

Enjoy!!

[infiniti driver]

Track 7 "Let Me" Paul Revere and the raiders

I almost said, "forget this track". A 1968 recording that was never "killer" in any respects would be a hard cookie to put up with these others. this was trasfered from the analog tape and the tape was in lousy shape. "Pityful" comes to mind. Drop outs, tape hiss, missing instuments, loads of tape saturation...it was way in the red in places...off the +3dB scale...up around +6dB and then some. Can it be done? How? IS it not a simple excersise in futility?

I love a good challenge if it is a fair challenge. To do this, I took the tape and transferred it to 24bit digital. I had to realign the machine to get the maximum signal to noise ratio. I had to get a copy of the vinyl and "fill in" the dropouts. Matching the vinyl with the tape is hard enough because all phono cartridges are different as well as decks, tonearms, phono pres and speed. The vinyl was good..but not like the master, warts and all. Audio restoration is a challenge that requires thinking way outside the box. The handclaps were missing from the tape. I was not going to try to put over 100 hand claps from the vinyl in sequence so what I did was to sample one hand clap off the vinyl and perform them along to the song where they belong on two separate tracks and sync them in. This worked well. I had to find the proper gain for them in the mix. Since they were never performed "perfectly on the beat" I had to study them over 40 times to see where they lag behind or go in front of the beat. Finally, I got them all on the tape. Their were several cymbal crashes missing as well. Same for them. One old Ronco copy I had on vinyl actually had a China boy cymbal toward the end fade, I put that in there too. There is also a mistake where the keyboards came in wrongly on one of the vinyl copies, did not on the other but was on the master. I took out the mistake. The Tape did not have the panning of the solo voices going "ma ma ma ma ma ma ma ma" before the bridge to the guitar breakdown, I repanned it.

It is balls to the wall and not close to peak digital. It sounds that way, turn it up for fun and games if you want to! LOUD! Re-live the 60's!

So..I listened to it many times last week and said, this is not the best sounding song at all. It is late 60's loud rock and roll. I don't even think it made the top 20. For your enjoyment, it is pretty loud, but not clipped. Too bad the tape was saturated (compressed) but that is how it was. When they mastered the vinyl (several different versions of it) they were evidently riding the gain. I rode the gain as well to give it that vinyl feel.

Good luck on this one..I am going to need it! It should be fun though.

[infiniti driver]

Concert intro, Brothers 3 LIVE. The first song of the concert.
The entire concert will be released once I am finished with it (6 more months)

So...you all still with me?

I get to the Church at 130 PM with 1000 lbs of equipment and there is Bob Levinson setting up all his gear and microphones to do the FOH and Monitors mix. (FOH=Front of house or Mains) He had about 30 microphones up on stage. The Brothers 3 are a Celtic band that consists of:

Drums, percussionist, guitars (acoustic and electric), Violin, Sax, Electric Bass, Electric Sax, Keyboards, Flute, Vocals with Harmony.

They are a large act. They are not an act that can hook up, play and leave. They require logistics in planning to do a show. This Church had an audience of about 800 people for the show...So I get there, unload my equipment and hook it all up, place my microphones. I heard mention that the guitar amplifiers power cord needed replacement. I said, I will pick one up before the show starts and I notice, looks like everyone has taken a break... Did they go eat? Darnit, I wanted to eat with them and us all meet back for the sound check..so I finish my set-up about 3:30 and I am getting hungry, I go out for an early supper. Concert is from 7:15 until after 9:30 and I did not think I could "hold out" until after midnight (tearing down and loading) I leave about 4:00 PM and go get a New cord for the guitar amplifier to solder in and I get lost in town. Imagine that. The place had changed so much that roads that used to go 2 ways now go one way and if you miss "the" road, you may find yourself driving in 12 mile circles with no way back to where you want to go...or simply drive 35 miles around and the traffic was horrendous..being Valentines day. After going to several places, I find the cord and find my way back, hit a pub for a sandwich and a brew (wrong answer on Val day) and make it back to the Church about 6:15. Guess what..No one was there!!!! This is when they really took their break and I missed the sound check.

No worries, I can let it fly. I know about where it should be and when they came in...everyone looked worried about me. I said, "the guitar amp looks ready and I am ready" So...you are hearing the first notes of the concert, the actual first song, no sound check by me..and musicians that are not really warmed up. The Bassist had problems staying in the mix...but other than that, it is fun. This is how it sounds from the stage perspective with a mixture of acoustic and electric instuments. I like it because it is raw, and it is real. 5 microphones, 4 across the front, one for the kick. Mixed down live to 2 track!!!! (I did some polish in mastering)

The beauty of this one is, I multitracked it big time. I will go back and make this a creative controlled production that will sound totally different than what you will hear on this. I like the raw myself.

[infiniti driver]

Tracks 10/11/12

These are from the album :"The Journey that lies before"

http://www.brothers3.us/journey/


I am very happy with the entire album. I am the mastering engineer for this album and I took the entire album a complete different direction from the mixdown. For some unknown reason, I really hit it off with these guys. The vibe I could hear in the music needed to be brought full out and the production was quality enough to be mastered to reference material.

These three songs are a "shade" louder than I would make them for this compilation normally...but since I got the dynamics "so right"..I decided to leave them alone..but do a re-visit to see if they were all they could be. Well, they were just too close to mess with and I know when to leave well enough alone. I spent 300 hours mastering this album and to make changes now would not do it justice. Enjoy. Loads of dynamics and for a non industry recording, it is very sweet. I love the sounds and the music. Your system will as well!

Reefus here on this forum has the entire album. He says, it is as good as anything he has bought, audio wise. Thanks reefus, I love it too!

[infiniti driver]

Track 9, Deturbination. Wilson Turbinton (aka Willie Tee)


Whoa Mule, I skipped this one....this is right before 10/11/12 so lets back up a tad...right after the Bros 3 live, this one...Ok? we got that sorted out? Sorry...

I worked with Tee as the chief engineer at a very large (and expensive) facility on the 25th floor of canal place in downtown New Orleans from late 94 until the underwriter closed the facility. Millions of dollars of equipment. I loved the facility and the view of the French Quarter from 320 feet up. I cannot begin to remember how many thousands of hours of work I did up there. It was "around the clock action" I made a good friend with Willie Tee...we really are "very close friends". His professionalism and his talent knows no bounds and I made a decision to stay in touch with him through thick and thin. The Man is a wonderful pianist, composer, entertainer and overall artist. He really needs another big record deal. I speak to him over the phone at least 3 times a week and one of my goals in life is to "see to it" that Tee gets at least 4 more killer albums out before he is too elderly to perform on a regular basis. It is his wish as well. He told me that I was the only engineer he would ever consider. Nothing happens without me. So..we knew that their is  possibilities with 3 labels right now. Back on March 24th, we started laying tracks. This song was done in one day..the mixdown and one day for the adjustments. It is engineered specifically to be heard by an A&R person. A&R people are your liason to getting a contract with a major label. It is essential to know about A&R. I myself did A&R for a major label under contract so I know "what they look for". The typical system for an this level of the business is usually a JVC, AWAI or a Sony boom box or cheap shelf system. They will have the bass boost button pushed. They will turn it up loud. It has to sound "dynamite" on these little systems so I mixed this for that purpose. For your enjoyment, listen to how this sounds and listen to how it is "different" from the everyday CD you go out and buy. The goal here is to balance all the channels with ultimate definition in mind, not necessarly to sound its "best" on a large scale system. It also is designed to hopefully show that it needs to be redone properly on a large scale system since it is a "demo". Lot of politics at work here but they loved it and now we are in the negotiation stages. Hope we can get what we want.

[infiniti driver]

13

This is a spiritual standard. "Joshua fought the battle of Jerico"

This was done with 4 microphones in the same setting as track number 6. Live, acoustic, seriously dynamic and 70 voices. My big machine was in service so I used a 14 bit processor recorded to beta digital. Bringing this back up from the graveyard was fun. It has some low level resolution problems but the dynamics are to die for. Watch the ending. Power in droves. It made the cut and I hope you all like it. It is very short and like I say, powerful!

Now, if you waded through all this (typos and all >sorry about them<) the MOST IMPORTANT THING...is to make certain that you find a comfortable volume setting for your maximum. anything above 90dB on the test tones on track 15 may result in clipping unless you have the juice. It may not either. The big caution is track 5 and track 6. This is where MAXIMUM BASS POWER will be displayed. Also if you have the right loudspeakers (sp owners do) listen to "walkaway" track number 3. In one area, some pedal tones are present, 16hz, 19hz and 22hz. They are strong..but with wimpy loudspeakers, they will go totally unnoticed. If you have loudspeakers that can extend below 30hz, you will really be able to move some air when that part of the song comes around. Willie Tee loves to sneek in some subsonics at times. He did here. I asked several people if they ever heard them and the answer was no. You belong to a special group of folks if you can hear these notes in their full splendor. I have no doubt they will come through very nicely using SP products.

OK..that is it. Considering the material, I hope this brings hours of enjoyment. ( I just spend a couple myself writing all this)

So, the summary.

TK 1 Killer
TK 2 Most killer
TK 3 Fun, rich and full. Mix could have been better.
TK 4 Live jazz, good imaging, bouncy bass.
TK 5 Hang on to your hats, you are going for a ride. Meter problems with the oboe does not bother me. Bass power at limit.
TK 6 Dang it. I wish I could have given you the whole thing. It will knock you down!
TK 7 Old crummy master. I did what I could. I like it. See if you like it.
Tk 8 Raw live recording. Snare a little hot, bass player was warming up. Explosive kick drum.
TK 9/10/11 Consistant and fun
TK 12 Demo track. Notice the things to =impress= in it.
Tk 13 Live Chrorale work. Dynamic!
TK 14 Silence. You should hear nothing 30 seconds
TK 15 Cal tones. Go for between 80 and 90dB Over that, you are on the wild side. 36/440.7 and the pain the pain..(actually it is 2350 not 3250)


Edited. This is a procurable CD. PM for details (thanks EProvenzano for asking) Details are also on page 2.

[EProvenzano]

Is this CD available for purchase?

I apologize in advance if I may have over looked this in your composition, but I only briefly skimmed over it…for now.

Thank you.

[infiniti driver]

http://www.audiocircle.com/index.php?topic=9691


Above link to obtain a copy.

More info about the CD is here.

http://www.audiocircle.com/index.php?topic=10010

PS, read the fine print. I have authorization to release these works in limited quantity. Once the target number has been met, I will need to renogotiate for a settlement and figures for re-release. this CD will go into the consortium as an archive if the demand is not met. It is for testing and evaluation purposes only. Not to be copied or resold. All rights RESERVED.

[reefrus]

As usual, Infinity Driver, you are the master.  You have outdone yourself, yet again, with this masterful explanation of the test CD. You have whet my appetite and I can't wait until the CD arrives.  My hat is tipped in your general direction!!  

[infiniti driver]

I wish I had the gift of spelling and lack of typos. I need a typist!!! Or is that typest? See?

I am not an office manager Spock, I am an engineer.


Thanks SC!

[mgalusha]

I'm (im)patiently waiting for mine to arrive... Hope you received the MO and have shipped it.

mike

[infiniti driver]

Mike, todays mail. On its way in the morning!

[mgalusha]

SWEET!

[infiniti driver]

Allthough, I said I would release on the 24th of April, I am so happy the heat was on and I worked this for another 14 days. I have no regrets now. It is as perfect as I should get it. Nothing sounds less than "proper" to me. Looking very foward to everyones comments.

[infiniti driver]

Here is the powerband response from track 4. I could not believe my eyes. +/- 3dB from 20 to 20K and no rolloff. Good stuff folks. this was an average of the whole track. It does not look like this usually. Slow hold. Peak info per slice. The 20K being flat is killer. Sounds good too. 2 million slices, not the usual 32K slices. Thank you silicon graphics, again. SGI hs the best fft in the world.





Here is the lab, this is where it all goes down, excuse all the mess, it was an old pic. Notice the SP's and the Yamaha NS1000's. SP's were moved in some for this mastering.







Serious!