I remastered PHIL COLLINS "But Seriously" today for Audio Fidelity. Sounds fantastic.

Here is a heads-up for you Phil Collins fans:

We used the original 1630 master comp reel from the UK, bypassing the limited and over-the-top EQ'd cutting master that can kill small insects at 30 yards and I really enjoyed the listening experience. We can now "hear into" the mix and hear what is really going on deeeep inside the soundfield. Other versions of this album have so much treble EQ added in post that it really obscures the meat of the music to a great extent. No idea why they did that.


You'll have no problem hearing what was done at The Farm, Surrey and what was done at A&M, Hollywood. Each studio "sound" is now clearly distinguishable.

Cool.

I couldn't even play the old CD at any sustained volume level without literally getting a headache. This version reveals the complex layering of the music and vocals so the album will seem like a new experience for you (and me).

I think you'll be able to finally crank this album up the way it was meant to be cranked.

Phil Collins "But Seriously" mastered by Steve Hoffman and Stephen Marsh at Marsh Mastering 3/19/2012:

1."Hang in Long Enough" – 4:44
2."That's Just the Way It Is" – 5:20
3."Do You Remember?" – 4:36
4."Something Happened on the Way to Heaven" – 4:52
5."Colours" – 8:51
6."I Wish It Would Rain Down" – 5:28
7."Another Day in Paradise" – 5:22
8."Heat on the Street" – 3:51
9."All of My Life" – 5:36
10."Saturday Night and Sunday Morning" (instrumental) – 1:26
11."Father to Son" – 3:28
12."Find a Way to My Heart" – 6:08

I think that people get confused as to what constitutes a digital MASTER in the early digital daze.. There is the final assembled master on a U-Matic tape and then there is a U-Matic copy "cutting master" that has nasty (usually) EQ and compression moves on it for ease of record cutting and CD mastering. If that is bypassed, the digital original mixes usually sound wonderful, full of life, dynamic and tuneful.

I think since everyone used Yamaha NS-10M's then, it really caused a lot of engineers and producers to boost the treble and kill the bass just because they could. After years of not being able to do that due to the rules of disk cutting, making the CD version caused them to just forget about what sounded good and go nuts on the screech.

My point being, the good sounding versions sometimes still exist if one can dig deep. In our case we had the cooperation of Phil Collins so that made it possible for us to actually hear what the artist, producer and engineers created in the studio before the TONEZAPPERS got their hands on the sound.

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I just received my check disk from our mastering. This thing really sounds wonderful. Plenty of bass on the original mixes, nice balanced tones, magic mids. Can't wait to play it again.

I've ignored this album for years due to the thin, screechy sound but these original unmessed with mixes sound incredible. Truly an eye opener for me (and will be for you).

Thanks to our friends (Phil's people) in the UK for coming through with the real deal for the fourth time. You guys are great.

So a few little fix-up mastering revisions tomorrow and this can be put to bed. Next stop, manufacturing.

 

I just received my check disk from our mastering yesterday. This thing really sounds wonderful. Plenty of bass on the original mixes, nice balanced tones, magic mids. Can't wait to play it again.

I've ignored this album for years due to the thin, screechy sound but these original unmessed with mixes sound incredible. Truly an eye opener for me (and will be for you).

Thanks to our friends (Phil's people) in the UK for coming through with the real deal for the fourth time. You guys are great.

So a few little fix-up mastering revisions tomorrow and this can be put to bed. Next stop, manufacturing.