For noen uker siden så leste jeg en gammel tråd på SHF om diverse utgivelser av Phil Colins‘ Face Value. Og der fant jeg ett utdrag fra en bok som omhandler PC’s synspunkter rundt masteringen av denne utgivelsen.
"In Genesis we'd never taken an incredible interest in the cut — it's only recently that l've discovered how important the cutting engineer is. He really has total control of something you’ve been spending months and thousands of pounds doing. You just go in and give him your master tape and he's like an extra producer — he can make it sound good or bad!"
Phil first flew to the US to cut Face Value at Sterling Sound in New York (which is mistakenly credited on the sleeve) but Phil wasn't convinced the sound was right, so he tried three different cuts at a mastering studio in London and still wasn't happy with the results.
“I wanted the record to sound very much like a black album. l think my music is different from a lot of people's music, simply because l'm taking black and white influences and creating something new." In desperation, Phil went home to relax and to listen to some of his favourite music . . . Earth Wind & Fire and The Jacksons. “They sounded great, then l put on my acetate and . . . by comparison, it sounded tame."
Yet Phil was convinced he'd made a great record and all he needed was a good cut. So in the end: "I looked on the back of the sleeves of all these records I liked and the name Michael Reese kept coming up. ’Mastered by Michael Reese, The Mastering Lab, Los Angeles. "I thought ’****, I’ll just ring him up!' I got the number through Directory Enquiries and called him."
Because of pressure of work, Phil couldn't actually attend the cut, but gave Michael some basic instructions about levels on different tracks and let Reese do what he's best at. The results were exactly what Phil was hoping for. "It was staggering. I put the cut on and it was much blacker, it just sounded better coming out of the speakers - the sound came out of the speaker as opposed to staying in it."
However, the story doesn't end there. It appears that two different versions of the album were eventually pressed up — the original Reese cut has TML stamped in the disc's run-off while the later "copy-cuts" (by lan Cooper at the Townhouse) are stamped TOWNHOUSE on the rim. Some copies are reportedly even made up of one side cut by Reese and the other by Cooper!"
Hello, Has anyone compared the various vinyl pressings of Phil Collins' wonderful album Face Value? Which one sounds the best? I have three...
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Fra før så hadde jeg den skandinaviske originalen som har en annen master, så en original UK press med TML i innerrilla ble bestilt på Discogs.
Vis vedlegget 801592
Så er det noe forskjell ?
Ja, jeg vil si at TML’en låter litt annerledes. Varmere lyd og mer punch er det som slår meg.
Forskjellen er vel mer en smakssak enn noe annet. For ingen av versjonene låter dårlig.
Manflu er som kjent dødelig for menn mens det står på 
