Everly Bros. DCC Gold CD / RCA Nashville Studio info/ What's Compression?/Buddy Holly

Forgive me, but I know this is a really dumb question, if I can get this CD at a local Border's; should I spring for it?

I am from the era of this duo, but I was never a huge fan of them. But I do know this is about as classic as it gets. Again, I am well aware of DCC and Steve's brilliance, but will I be happy with this, at $25.99?

 

Re: Everly Brothers sealed DCC

It is outstanding and worth the cost if you really enjoy the Everlys. It is very well mastered, as you would expect. When Will I Be Loved and Cathy's Clown are, in particular, outstanding!

Bob

 

F***ing a! Hey, grab it now. I bought mine for about $40 and it was worth every penny! Possibly one of the better discs Steve's done for many reasons. You'll have to notice the technical things that are interesting for yourself.

The disc isn't rare. Lots are out there. If you like the Everly's a little the disc and the price won't dissapoint.

You'll become more of a fan in 20 seconds.

 

I agree with the others, you should get it. The music is fabulous...

Todd

 

Sckott,

Are those "technical things" a big secret?

What do you hear? I hear a CD that sounds very, very analog--like an LP.

Your thoughts?

Bob

 

Once I got this CD I told Steve, "Sheesh, the master tape didn't fade to dead 0, did it? Seems the board had some talkthrough when they faded it down to nothing". He explained the board they used didn't have an absolute 0.

So, when you listen to "Wake Up Little Suzie" and "Bye Bye Love", the engineer is supposed to fade the track out themselves to avoid the haphazard fadeout on the master. Steve left it in, every drop. It will sound weird, because the dynamics thin out after they turn the fade down to nothin.

Steve said something to the effect, as you'd expect; "The engineer's job was to fade it out on their end before it hit below that point. It's like the engineers had better things to do, so they rush the fade out, and I HATE that."

It only happens on a few songs on the CD. Just wait for the end of the song to fade out, dry out, then cut cold. See, a few extra seconds don't hurt, and it keeps true to the master tape, TRUELY!

I love that stuff.

If Steve has more to say techinically about the board they used, I invite him to. I forgot the complete details and I'm not @ home....

 

syogusr,

Definately not! I don't agree with the others at all!

I think that you should buy it , just to help the poor slob who owns it now, out. Then you should, just as quickly as you bought it, put it in a bubble pack envelope and send it to me at 1234.....

Enjoy it man, it truely is awesome compared to any other cd version of the Everly's.

 

Sckott,

I noticed near the end of the fade out on When Will I Be Loved I hear a last refrain a capella just before the total fade out. Is this an example of what you are mentioning here?

Thanks for sharing more details from the mastering sessions!

Bob

 

I wouldn't hesitate to pick this one up since the Everly's disc is one of the few Rock and Pop DCC titles that you can still find in stores. Definitely one of the best sounding DCC releases ever!!!

 

Re: A few recording tidbits

Steve,

Thanks for sharing your "mastering experiences" and insights on this great CD. Now I know why Till I Kissed You, When Will I Be Loved and Cathy's Clown sound so good--Bill Porter. I should have realized. The sound is amazing on those tracks.

I know have more knowledge on my last DCC purchase. Thanks!

Bob

 

Steve,

A strong "second" to that from this collector!

Thanks for the more in-depth history lesson. Your vintage equipment knowledge is truly amazing to hear about.

What is an "Optical Limiter"?

Bob

 

Steve,

Thanks for the continuing education credits!

I am learning a lot from this forum about the technology of recording, past and present.

Bob

 

I'm not a "religious" person...but I'd like to put my opinion on record as:

BILL PORTER = GOD

"Little Sister"
"Good Luck Charm"
"Muskrat"


Does sound get any better than this???

 

Compressors/Limiters

Steve,

Thanks for the links! The "paper" on compressors/limiters should be required reading for ALL SH Forum members as a primer. While I am not quite ready for the written test yet, I plan to spend more time studying the information in the primer....lest I mistake my soft knee for a hard knee!

Bob

 

What?! What of the David R. Modny I've come to know and love?!

 

Wow Steve,

Holy educational post. So I gather that most recording studios are just using their compressors with too fast of an attack time and that's why we get that annoying treble ear pain syndrome? Or is it a lot more factors than that? Or is it more of a case of just using an intermediate setting for everything?

Thanks Steve.

 

...you can pull that tongue out of your cheek now, young one.

 

Thanks for the links!!

On the Mix page, check out the article about
Hollywood Vaults (under the General heading).

 

The DCC Everly Bros. CD is very good and it is worth the price. But, IMHO, it is not as good as Steve's Buddy Holly CD. The Buddy Holly CD is FANTASTIC! When I turn down the lights and play the Buddy Holly CD I swear the he is standing in front of me. The sound is just sooooooooo real!

 

When I did some work at WBAI FM in the 60's it put on lots of live mono music. Alices Resturant and Mr. Bojangles were first performed there live, ever, and Dylan was know to stop by to perform. The "studeo" had very little processing hardware, just basically a limiter, and the levels were kept moderate to allow full dynamic range. Heck, when early stereo receivers hit the market and you played Dylan's harmonica sutff the multiplex light would go on because output exceed 15,000 Hz. If this standard was followed in Radio and CD recording today MP3 would not be anywhere as attractive as it is. People can get away with MP3 because the stuff they have lived with is so overly compressed (to death) and over processed. Just my optinion.