The new Creedence SACD's: Kevin & Steve look happy...

[Steve Hoffman]

After listening to the playback of the SACD / DSD master of "Cosmo's Factory".

We think you will like the Creedence dual layer SACD's! The CD layer sounds fantastic too!

(Photo by Peter Bizlewicz.)

[Claviusb]

I just happened to come across the unaltered image...

[Steve Hoffman]

Funny guy.

[Todd Fredericks]

You both look very happy! I can't wait for the release... Also, that second "unedited" picture is very funny!

[Claviusb]

Steve, how do you think these new SACDs will compare to the K2 discs already
out there?

[Steve Hoffman]

Well, the SACD's will sound very different, that's for sure.

First of all, my "Creedence" mastering philosophy is different from others, in that I ignore the temptation to brighten up the drums and go instead for a natural sounding John Fogerty vocal. This also helps to draw in the breath of life that is so lacking in this stuff.

The Creedence SACD's resolve so nicely, it's possible to really crank them up and have the illusion of life remain. I love that sound!

The CD layer sounds great as well, nice and rich, with a warmth and tonality that really floats my boat (and hopefully yours too!)

[Claviusb]

At DCC you would listen to every available version of a disc before you mastered it, but you'd already done that "homework" before (when you remastered the CCR gold discs). Did you have the luxury of reviewing what had been done with the Creedence K2 discs since they came out after the gold DCC discs, or was that not a concern?

[Claviusb]

This made me think of something else I wanted to ask (forgive all these questions!)

I imagine you're always streamlining and fine-tuning the mastering process. How significant are the differences of these SACDs compared to the previous releases of these albums? Will we hear a difference between the redbook layer and the DCC gold disc?

[Steve Hoffman]

To answer your first question.

Well, I like to keep on top of stuff, so yes, I listened to all of the Creedence discs that were issued after I did the DCC Gold and LP versions.

I also listened to all the old pressings again (the Fantasy originals, plus the recuts, silver CD's, etc.)

In the end though, I could have done the SACD masterings without having to review anything else except the master tapes. My mastering attitudes are pretty much the same as they were when I did the DCC's. Heck, they've been the same since I got my feet wet doing this back in the 1980's!

[Steve Hoffman]

Originally posted by Claviusb

I imagine you're always streamlining and fine-tuning the mastering process. How significant are the differences of these SACDs compared to the previous releases of these albums? Will we hear a difference between the redbook layer and the DCC gold disc?

Robert,

These new versions will be slightly warmer than the DCC's; owing to the higher resolution of the DSD process, I was able to be assured that when cranked, the sound would not fall apart as it can sometimes. The Redbook layer rocks as well (I have a little secret way to insure that this happens).

It's like the sound that the band originally heard in the studio I think. They played that stuff back LOUD and when I can make that happen with these new SACD's (without the sound turning to screech, that is), I think I've accomplished my mission here.

[Claviusb]

So they will be warmer, and even the redbook layer will have more apparent detail due to the resolution of DSD? Or is that wrong?

Have you played the redbook layer on a "regular" CD player?

[Todd Fredericks]

Can you describe any differences in the mastering process between the AP vinyl and SACD versions of these 2 CCR albums? What are some of the individual strengths between the 2 formats (not meaning which is better/vinyl, CD, SACD & DVD-A, etc. are all great formats, blah, blah, blah)? In other words, if I listen to 'Willy & the Poor Boys' on the AP vinyl and also the SACD what are some differences I might encounter (any thing like differences in approach you did for the DCC 'Doors S/T' CD/LP)?

Todd

P.S. When you say the test SACD discs were successful, does that mean they sounded "exactly" like the SACD master (what do you master the finished album to?) you submitted?

P.S.S. Steve, you really should have those "Mewize" knobs just professionally yanked off the console of maybe just get some heavy-duty duct tape (or even cement) to keep them secure in place. You never know, you might be working on 'Revolver' and an elbow might hit one of them or a coffee might spill... Get a big sign saying "WARNING! STAY AWAY FROM THOSE KNOBS!!"...

[Steve Hoffman]

Claviusb,

The Redbook layer will match the tonality of the DSD layer.

The DSD layer will have the analog edge however, because that's what it does best; resolve!

They will both be warmer because I felt that this new disc could handle a touch LESS detail for a more overall "natural" sound.

In other words, you can turn it up and the sound won't fall apart (like when you hold a newspaper photograph close to your eyes). And the OVERALL detail is enhanced, because the band sounds more like one whole, than a bunch of parts put together.

Make sense?

[Steve Hoffman]

Originally posted by Todd Fredericks
Can you describe any differences in the mastering process between the AP vinyl and SACD versions of these 2 CCR albums? What are some of the individual strengths between the 2 formats (not meaning which is better/vinyl, CD, SACD & DVD-A, etc. are all great formats, blah, blah, blah)? In other words, if I listen to 'Willy & the Poor Boys' on the AP vinyl and also the SACD what are some differences I might encounter (any thing like differences in approach you did for the DCC 'Doors S/T' CD/LP)?

Todd

P.S. When you say the test SACD discs were successful, does that mean they sounded "exactly" like the SACD master (what do you master the finished album to?) you submitted?

Todd,

The mastering process between the AP vinyl and SACD? Well, the "voicing" process is EXACTLY THE SAME. I mean that I used the same tonality for both the LP and the SACD.

The mastering PROCESS for the LP was a lot different, trying to get those songs on acetate without the needle bouncing right off of the groove. But that's not what you meant, right?

The strength of the LP is that it is analog, and can sound wonderful without little effort. The SACD on the other hand sounds wonderful as well, with a bunch of circuits working overtime to try and RECREATE the analog sound.

Both are totally bitchin' to me, but if you are asking if they will match if played back at the same time in your system, the answer is: They should. But too many playback variables might get in the way.

My SACD tests were indeed successful, and the finished disc sounded just like the real deal.

[Claviusb]

Originally posted by Steve Hoffman
Claviusb.

The Redbook layer will match the tonality of the DSD layer.

The DSD layer will have the analog edge however, because that's what it does best; resolve!

They will both be warmer because I felt that this new disc could handle a touch LESS detail for a more overall "natural" sound.

In other words, you can turn it up and the sound won't fall apart (like when you hold a newspaper photgraph close to your eyes). And the OVERALL detail is enhanced, because the band sounds more like one whole, than a bunch of parts put together.

Make sense?

Yeah! Makes perfect sense! That wasn't your little trick to get the redbook layer to rock was it? I mean, do we need to get the entire forum to sign an NDA or somethin'?

:D

[Todd Fredericks]

Steve,

Thanks for the answer. I've noticed that even on my "cheapie" SACD player that all those little (cheapie) circuits are doing a fine job getting the music to sound pretty natural and I guess analog-like. I'm looking forward to picking up "Willy & the Poor Boys' on SACD (still S-Cad to me, saying "super audio cee-dee" is a mouthful/nobody calls standard CD's "compact audio discs"/should we just call the, "Super" or "Super CD's"??)... Also, what do you master a SACD to? In other words, what's sent to the plant?

Todd

[Steve Hoffman]

Well, the SACD mastering man comes to the studio with his big boxes, cables and special computers. He takes a feed from the mastering console and records it.

He then steals away into the night and takes care of the rest for us.

Next thing I know, Fed Ex is bringing me test SACD's, hot off the press from Germany.

That is service, isn't it?

Thank you Sony!!!!

[Todd Fredericks]

Well, the SACD mastering man comes to the studio with his big boxes, cables and special computers. He takes a feed from the mastering console and records it.

Did you at least offer him a coffee or maybe a danish?

Seriously, so a "Sony" man came to the studio with this SACD recording gear (what kind of equipment/computer is it?) and he stayed with you & Kevin as you were mastering (was he working or reading a newspaper?/Union thing?) and then when the job was done he's off (and the boxes or unidentified storage medium were shipped to Germany). How long was the mastering sessions for the 2 CCR SACD's?

Todd

[Steve Hoffman]

Well, we took him to lunch.

Also, he really dug Creedence!

What better way to spend a few days?

[Todd Fredericks]

Very cool. He (and all of you) must have had a great time working on those albums...

Todd

[Steve Hoffman]

Originally posted by Todd Fredericks


Seriously, so a "Sony" man came to the studio with this SACD recording gear (what kind of equipment/computer is it?) and he stayed with you & Kevin as you were mastering (was he working or reading a newspaper?/Union thing?) and then when the job was done he's off (and the boxes or unidentified storage medium were shipped to Germany). How long was the mastering sessions for the 2 CCR SACD's?

Todd
What kind of equipment is it? It's SECRET equipment!

By the way, we kept our guy busy.
The "Sony" man was sweating out trying to get the Creedence stuff recorded on his machines without going "over". We had to stop and start many times. Since we don't reduce dynamic range by adding crappy digital compression, we really had to watch levels (his job). One "over" and forget it, back to square one.

"Grapevine" was the worst. Big dynamics jump somewhere in the last third of the song.

But all in all, we made good time. Took us one day for each album.

You understand why I'm being so, er, vague about all this, right?

[Todd Fredericks]

You understand why I'm being so, er, vague about all this, right?

Yes I do (at least I think I do)... Shhh...


Todd

[Claviusb]

Originally posted by Steve Hoffman

You understand why I'm being so, er, vague about all this, right?

'Cause the Sony guy put in an expense request for his meal and you don't want to get him in trouble?

Secret equipment, Secret Eschmitment (er, you know what I mean)-- if you'd have told me you were puttin' out for lunch I'd have brought all my stuff up there! Heck, I've got all the same stuff as that darn Sony guy... it's all just layin' around here!

[Todd Fredericks]

I own a Sony walkman, if I brought it to the studio would I get lunch to (or even a danish)?

[Steve Hoffman]

Yes.