“Like other support providers already working with mastering studios and working hard to help ‘get it right’, this studio has a good story to tell and I believe I have something to add to the mix of integrated solutions for studios to leverage. Basically it’s all about exploiting some pretty profound “groove undulations” masterfully placed into the record groove by our pioneer engineers and then taking that raw audio and delicately crafting its legacy sound. Then, ‘hand it off’ to the mastering engineer to work their magic so that it can breathe and blossom into something quite beautiful, allowing it to take full advantage of today’s improved listening equipment, yet remain organic and natural as originally intended. And it is just like you would want an analog recording to sound but now resting in its new digital-container home.....”
— Studio Owner, Jeff Brown
All the digital audio files cited on this website are test only and merely for illustrational purposes. They await their professional-and-proper designated industry-selected 1st Edition 'Master' vinyl pressings from which proper reworks can be performed to get the results they deserve.
Master Tape Comparison
Sterling Sound Production Master Tape for Polydor 1970 - Reel-to-Reel 15ips
Polydor Vinyl 1970 - Digital HFE Audio 2021 - LegacyVMP Studio
Polydor/Universal Digitally Remastered 1990 - Digital Supply Chain Version
Master Tape - Digital HFE+ Audio(Vinyl) - Digital Remaster(Polydor)
Audio Material: Arthur Fiedler & the Boston Pops - “Santa Claus is Coming to Town”
The three color 3D spectrograms representing time (X axis), frequency (Y axis), and amplitude (Z axis - represented by variable brightness or color). The frequency range is 0 - 20k.
Key takeaways -
Master tape and my studio test audio both show plenty of amplitude represented by the deep blue color 5k and above, which suffers greatly on the digital remaster from 1990, something not uncommon in digital transfers from that era. To date, no other professional digital master exists to correct the original digital transfer/master’s shortfalls.
The deep blue horizontal band at around 5k are the sleigh bells in the track. Above that at around 8 - 11k is another fainter band also representing the higher frequencies of the sleigh bell sound.
The lime green is the ambient broadband noise from the Symphony Hall and also tape hiss noise inner-dispersed.
As you get even quieter, you begin to see deep ambers, with fades to black, start to appear throughout the recording.
+HFE - High Fidelity Engineered
Click the video below to listen to the side-by-side samples.
Audio Restoration - Dealing with IGD
Capitol Vinyl 1967 - Digital HFE Audio 2021 - LegacyVMP Studio - Before
Capitol Vinyl 1967 - Digital HFE Audio 2021 - LegacyVMP Studio - After
Capitol/Universal Digitally Remastered 1987 - 2011 - Digital Supply Chain Version
Digital HFE Audio(Vinyl - LegacyVMP) 2021(Before) - Digital HFE Audio(Vinyl - LegacyVMP) 2021(After) - Digital (Universal) 1987-2011** - Digital Remaster (Universal) 2011**
Audio Material: Peggy Lee - “I’m Gonna Get It”
The three color 3D spectrograms representing time (X axis), frequency (Y axis), and amplitude (Z axis - represented by variable brightness or color). The frequency range is 0 - 20k.
Key takeaways -
The video allows you to hear the audio restoration versions, both ‘before and after’*.
Audio Restoration Notes: The audio restoration sample presented here is taken from the full and complete audio restored digital HFE file. Also, it represents very well the type and condition of inner-groove audio distorted music that is commonly found on original vinyl from that era of legacy music (late 50’s, 60’s, 70’s and 80’s) before the vinyl industry was replaced by the CD. Even the worst cut albums from back then are to be considered very manageable for us today to be able to fully restore back to the original LP mastered sound to be readied for reintroducing into today’s digital supply chain, including for vinyl production to press.
*My digital version is a test audio sample taken from the full and complete audio restoration project. The audio source is a sealed copy of an original pressing from 1967 and is considered to be a marginal vinyl source.
**Sourced from original CD.
Click the video below to listen to the side-by-side samples.
Audio Damage and Repair
Capitol/Universal 1987 - 2011 - Digital Supply Chain Version
Capitol/Universal Digitally Remastered 2001 - Digital Supply Chain Version
Capitol/Universal Digitally Remixed 2008, 2009 - Digital Supply Chain Version
Capitol Vinyl 1967 - Digital HFE Audio 2021 - LegacyVMP Studio
Digital (Universal) 1987-2011** - Digital Remaster (Universal) 2001** - Digital Remix(Universal) 2008,2009** - Digital HFE Audio(Vinyl) 2021
Audio Material: Glen Campbell - “By the Time I Get to Phoenix”
The three color 3D spectrograms representing time (X axis), frequency (Y axis), and amplitude (Z axis - represented by variable brightness or color). The frequency range is 0 - 20k.
Key takeaways -
The video allows you to hear the audio damaged versions against the repaired version*. Audio damage can be heard panned at about 45 degrees right of center in the mix and probably exists on the original instrumental track inherent to the original final mixed down to two-track recording on master tape.
Audio Restoration Notes: Though my test audio file is by no means complete, it does represent very well the capabilities that exist today with our digital tools and the potential that lies therein. Also, during any of my Audio Restorations, some tough decisions sometimes have to be made, especially concerning scenarios that involve “how much is too much”++. This was one of those decisions I encountered as you will hear a slight image alteration during the repaired segment that is very subtle, yet discernable. And this could represent a breach in authenticity to the original which is a big deal in my studio. But a very good illustration of ‘where to draw the line’ during an audio restoration and also whether it might get rejected in the end by the producers. Read below for my ‘disclaimer++’ on where I stand.
*My digital version is a test audio file from vinyl to cite illustrations only. It is from a marginal vinyl source but also the audio repairs are incomplete.
**Sourced from original CD.
Click the video below to listen to the side-by-side samples.
++ “Please note that my audio reworks are professionally done and the studio and its processes rely on the ability to use clean, specially selected and procured original 1st Edition vinyl pressings as the source audio material as much as possible. Much of my work to date, however, is not sourced from what I would consider to be specially selected and procured 1st Edition Vinyl Master pressings. There is a process for that which should be put in place and administered by the legacy audio industry for studios like this one (and others) to be able to use for maximum results. Therefore, all the works to date from my studio and as presented here are strictly for illustrational purposes. Indeed, the ‘best is yet to come’.
In addition, I strive to replicate the authenticity of the sound as closely as possible and as originally intended and mastered by the cutting engineer for vinyl. It is meant to present an 'alternatively sourced professional listen' using a source that is known for perfectly replicating the sound attributes of the master tape. If the master tape contains audio distortions and/or the cutting engineer introduced audio distortions when mastering for vinyl, then my digital audio translations will also many times exhibit those 'flaws' particularly if restoration is deemed to be detrimental to the original intent….
….For example, it is very common to have the two-track master tape of a legacy recording to exhibit audio flaws inherent to the tape that contain, tape dropouts, clipping and/or other various high frequency distortions introduced to the tape during production. Or some audio distortions were also introduced by a cutting engineer, such as harsh sibilants and/or clipping, during preparations for production of the metal parts for pressing.…
….Sometimes I may choose to treat these very minimally or even NOT at all in order to preserve the original as it was cut by the engineer. But in the end, these become those discretionary decisions that I make at times as I work to replicate as perfectly as possible the fullness of the sound and its fullest potential for impact as found in the record groove. Because that is of the utmost importance in ‘getting it right’.”
— Studio Owner, Jeff Brown
Less is More
Concord/Universal 2007 - Digital Supply Chain Version
A&M Vinyl 1966 - Digital HFE Audio 2021 - LegacyVMP Studio
Digital(Universal) 2007** - Digital HFE Audio(Vinyl) 2021
Audio Material: Sergio Mendes & Brasil ‘66 - “Going Out of My Head”
The three color 3D spectrograms representing time (X axis), frequency (Y axis), and amplitude (Z axis - represented by variable brightness or color). The frequency range is 0 - 20k.
Key takeaways -
An absolutely stunning above average 1st edition vinyl pressing that yields very nice results - impact, natural decay of transients, goose bumps, hair raised on back of neck……… Not the stellar ‘Master’ required but still good enough to make it worth pointing out.
Also, a good illustration of minimalistic processing that naturally lends itself to a ‘less-is-more’ approach that was used to produce this test master.
**Sourced from original CD.
Click the video below to listen to the side-by-side samples.
“......But this is nothing new in supporting mastering engineers with third party support as others have done already. There are those studios and their support chains that are doing some pretty phenomenal work in dealing with the inconsistencies and closing even more gaps. I call them the 'gap-changers'. They are helping to break significant ground when it comes to making sure our legacy digital offerings are what they should be. I want to partner with them and that's the vision I have for this studio and the mission it can provide and I'm so grateful and humbled.”
— Studio Owner, Jeff Brown
Minimal-on-Minimal - A More Blended Sound
RCA BMG/Sony - Digital 1993 - CD(ADD) Only
RCA Legacy/Sony 2015 - Digital Supply Chain Version
RCA Vinyl 1965 - Digital HFE Audio 2021 - LegacyVMP Studio
Digital Remaster (RCA BMG) 1993 - Digital(RCA Legacy) 2015 - Digital HFE Audio(Vinyl) 2021
Audio Material: Elvis Presley - “Do Not Disturb”
The three color 3D spectrograms representing time (X axis), frequency (Y axis), and amplitude (Z axis - represented by variable brightness or color). The frequency range is 0 - 20k.
Key takeaways -
The album exhibits minimal recording techniques throughout that lend itself very well to the acoustic instruments - the Upright Double Bass, acoustic guitars, brushes versus drum sticks. And they were used in abundance as highlighted in this selection. There is also a certain crudeness, for example, abundant mouth-clicks left in, to the recordings on the album and when combined with the organic, natural sound with vocals being extremely present or immediate at times, it adds to the effect of a minimalistic recording done very well. Deep, rich tones abound throughout. Also, a minimalistic transfer and processing was also adopted which gives the results a bit more naturalness to the sound, as well as slightly more texture. A pristine, above average audio source was also used for this rework.
Also, a great example to cite where you have an example from the early days of digital translations with added reverb which was common back then. Juxtapose that against RCA legacy’s spot-on remaster from today(2007, 2015) and you get a clear illustration of a warm blended sound with texture versus a completely different approached version from 1993.
Click the video below to listen to the side-by-side samples.