The Art of the Sonic Facelift

Remastering: The Art of the Sonic Facelift

June 02, 2014

Nick Krewen

GRAMMY.com

 

When aging actors and actresses need a sip from the fountain of youth to sustain their Hollywood dreams, they call their plastic surgeons for a little nip n’ tuck.

But when record companies or artists need to revitalize a classic album and freshen up its sound, it’s the mastering engineer who is the expert on their speed-dial, specifically for remastering purposes.

It’s a popular practice, highlighted over the past year with the re-release of the nine-album Led Zeppelin catalogue, overseen by Jimmy Page, as well as both vintage and contemporary titles revived and rejuvenated by the 75th anniversary of Manhattan’s Blue Note Records.

Jimmy Page photo by Avda via Creative Commons

In fact, anniversaries seem to be as good excuse as any to revisit some old classics: those undergoing the sonic knife over the past 15 months include Elton John’s Goodbye Yellow Brick Road; Soundgarden’s Superunknown; Stan Getz/Joao Gilberto’s Getz/Gilberto; Bachman-Turner Overdrive’s Not Fragile; Eric Clapton’s 461 Ocean Boulevard, There’s One In Every Crowd and E.C. Was Here; The Who’s Tommy; Prince’s Purple Rain, Bryan AdamsReckless and Bon Jovi’s New Jersey.

The retooling process also extends to catalogues as well, as noted by last year’s 16-disc compilation Joe Satriani, The Complete Recordings and the ongoing Blue Note series presided over by label president Don Was that commenced almost a year ago with the March 25, 2014 reissues of Art Blakey’s Free For All, Wayne Shorter’s Speak No Evil, John Coltrane’s Blue Train, Eric Dolphy’s Out To Lunch and Larry Young’s Unity.

Some of those key titles not only arguably sound better, but are enhanced by such bonus fare as previously unreleased material, alternate takes, live performances and other extras designed to make fans salivate and hopefully reach into their wallets to buy an album they already have in one, two or three configurations.

But first and foremost, it’s about better sound for today’s technology. With advances in both the music industry and recording fields, ranging from studio equipment to the evolution of formats that began with vinyl and analog tape and have shifted to digital options that include the MP3, MP4, AAC, WAV, AIFF, FLAC and DSD/DFF, as well as bit-rates that have jumped from 16 to 24, via computer and Internet, it’s no wonder Led Zeppelin’s Jimmy Page felt compelled to revisit his band’s 200-million-plus selling discography.

“It (mastering) was done for vinyl, back in the ’60s and ’70s, and then 20 years ago it was redone and remastered for CD,” explained Page at the New York press conference last May to promote the revamped catalogue.

“Now we’ve got so many different formats out there that it made sense to revisit the studio albums and do those.”

Page, who personally remastered each of his band’s nine studio albums and converted them into 24-bit hi-definition files, says he wasn’t thrilled with previous remasters.

“CDs were put out of that material from copy tapes, and they weren’t very good, to be honest with you, so that’s why the original master tapes were brought back out again and remastered,” says Page, 71.

“That was 20 years ago, so [now] you’ve got all the new digital formats that there are. The process has changed as far as mastering because now you’ve got other areas and elements to fill. Even with the remastering and cutting on vinyl, there have been so many steps and progressions to improve the overall (sound), if you like.”

Even before they get started, engineers can face daunting obstacles – missing, misplaced or destroyed tapes; some types of audiotape where they’ve become worn or decayed over the years, forcing engineers to try to physically repair the original master.

Ironically, while sourcing through materials that are over 45 years old, tape degradation was the one thing Jimmy Page didn’t have to worry about.

“The condition of it was absolutely magnificent, “ Page enthuses. “I didn’t have to do any sort of restoration work on that, apart from maybe a little edit might come out and you’d replace the editing tape. However, the In Through The Out Door album had been recorded on this new format tape — and you’ve probably heard about tape shredding and all of that, which means the oxide comes off and you have to bake them– so fortunately there wasn’t a lot of work that needed to be done past In Through The Out Door.”

Arguably, some titles have had their sound spruced up to the point of overkill – take Pink Floyd’s classic Dark Side Of The Moon, for example; a work which has undergone the process no less than a handful of times.

Why?

“Record companies remaster to try to get more money out of the catalogue to turn the catalogue, and thus, the artist as well,” surmises veteran mastering engineer Bob Ludwig, a seven-time GRAMMY winner who has won for his work with Daft Punk and Mumford & Sons on 2013’s and 2012’s Album of the Year, Random Access Memories and Babel, respectively. “I don’t think there’s that many titles where the fans are begging the artist to redo it.”

Bob Ludwig
photo credit – Peter Leuhr

But Ludwig, who is based in Portland, Maine, owns Gateway Mastering, and counts such multi-million sellers as Led Zeppelin II and Houses Of The Holy; Dire StraitsMoney For Nothing and AC/DC’s Back In Black as some of the 1300-plus titles he’s mastered since 1969, allows for exceptions.

“I’ve just remastered most of the early Bruce Springsteen catalogue for iTunes, and the first two titles, Greetings From Asbury Park and The Wild. The Innocent And The E Street Shuffle, fans had been asking for those for quite awhile.

“Those were originally done when CDs first came out – I did the original U.S. masters of those CDs in ’84, but they were made in Japan and done from the analog cassette copy masters.”

Ludwig says improved technology has made remastering more appealing.

“The quality of (analog-to-digital) converters that we use now is so much better than the early digital converters,” states Ludwig. “And there’s so much gear that’s been invented.”

In turn, better equipment, both at the source end and what you hear through the speakers, promotes a greater accuracy in the mix.

“When you create the final master, the idea is to make it sound as good as it can possibly be sounding over an excellent system,” says Ludwig. “The more accurate you make it, and the more accurate it sounds on an excellent system, the better it sounds on a wider range of things out there in the world.”

Another reason for aurally revisiting a catalogue may be artist preference, says John Cuniberti, who spent two years remastering the 16-disc set Joe Satriani: The Complete Studio Recordings. He says sometimes it’s just the benefit of hindsight that serves as a remastering catalyst.

“A lot of times the artist might wish the mastering might have been done differently,” says Cuniberti, a Grammy winner who has mastered albums for Dave Matthews, Aerosmith, Tracy Chapman and The Grateful Dead. “Sometimes when you lead a mixing project and it goes right to master because you have a deadline to meet, it’s really hard sometimes to be objective about the mastering process. You’re pretty burned out on it. You don’t even want to hear it, generally. “

He chuckles.

“In fact, that’s one of the reasons why you turn it over to a mastering engineer is a good idea after you’ve spent weeks or months mixing so they can provide that service. It’s so they will have an objective ear. So if you’ve lived with your record for 10 years, you might go, ‘maybe we can try something different.’”

In Satriani’s case, where different mastering engineers handled his albums over the years, Cuniberti says the timing to offer one cohesive sonic overview was never better.

”When we first started having the conversation about remastering, I said, ‘We have an opportunity here that we’re not ever going to have again: to present the entire catalogue and remaster it as one whole piece rather than just giving people the already mastered discs in a box,’” Cuniberti recalls.

“We can create a consistency in level and quality right from the first record.”

Cuniberti says Satriani’s recorded career overview was also a chance to rectify an embarrassing development in the history of remastered recordings: The Loudness Wars.

“Over the past 15-20 years, the  (44.1/16-bit) CD has been getting louder and louder,” Cuniberti explains. “This has been largely due to the necessity to stand out amongst the crowd. Originally, the record companies were encouraging it.  The artists, maybe their egos got in the way, and they wanted their record to be at least as loud as so-and-so’s, and so-and-so needed to make their record a little louder, and it produced what we call the ‘Loudness Wars.’

“The audio quality and the sound of the mix ultimately would suffer from that process.

“Now we have the opportunity to go and back off some of the limiting and processing that was taking place to fight that war, and really look at the album more aesthetically.”

Gavin Lurssen of Hollywood-based Lurssen Mastering notes that delivering the right sense of nostalgia as a remastering engineer is something that should also be taken into account, as it takes great skill.

“When you’re living in 2014, we have mobile devices and electronic billboards and all kinds of crazy information entering our brains at light speed,” says Lurssen, who mastered 2001 Album of the Year GRAMMY winner O Brother Where Art Thou?  and 2008’s similarly rewarded Raising Sand by Alison Krauss and Robert Plant. “But there’s always, as in the case in human nature, an ability and a desire to reminisce.

Gavin Lurssen

“So when you present something to somebody that was once a part of their lives, in some kind of cleaned-up fashion, you have to present it to them in a way that makes it feel like it felt back at that time, and combine it also to some degree — dependent on the vintage of the project — with the standards of today in order to create that feeling.

“Generally there is a lot more dynamic range on older recordings so it is important to respect that and thus the level wars are less of an issue in this line of work, “ Lurssen adds. “I’ve even seen cases in which this approach has helped pull current artists out of the overall level push when they see what can come of it.  It’s all about being exposed to it, which is among the good reasons the labels are doing it.”

Barak Moffitt, Universal Music’s Head Of Strategic Operations, and the executive who oversees Capitol Studios and Mastering, says the respect that Lurssen mentions is tantamount to the Blue Note 75th Anniversary Remastering project.

Barak Moffitt

“We’re trying to get a balance between what’s directly on the tape and what happened in that room, and the emotional connection that people found in that original vinyl release, where the public sentiment and the original sentiment around the music was attached,” he explains.

“And again, now that studio technology has hi-definition capabilities, we’re taking care to maintain as much information that’s in the original material as possible, while maintaining as much of the emotional connection to the original release as possible.”

Moffitt says that also involved preserving the integrity of the original masters wherever possible; a task the label took extremely seriously.

“Our first concern was to respect our responsibility as stewards of these original masters,” Moffitt explains. “So we developed what we call sort of these white-glove protocols around our tape-handling procedures, and how we manage the actual physical assets in and out of the vaults.

“We also wanted to make sure that throughout the two-stage process –retrieving the actual analogue assets from the vault, and then transferring them into the digital world in hi-definition for historical preservation – we took great care to preserve as much information that’s in the analog domain in the digital space as possible, given current studio technologies.

“We also took great care to engineer our signal processing chain, all the way from what kind of power cables we were using to what analog-to-digital converters we were using to the tape machines, the kind of software we were using, again with sort of the aim of maintaining the highest fidelity possible given today’s studio technology capabilities in the transfer from analog into the digital domain.”

From there, Moffitt says the results were then placed in the very capable hands of Bernie Grundman and his staff of Scott Sedillo and Beno May for both digital and vinyl purposes.

Of course, before an album can be remastered, it has to be mastered, a process that three-time GRAMMY winner and Blue Note Records president Don Was describes as “frosting on the cake.”

Don Was

“Musicians and engineers spend a whole lot of time getting the cake right, but most people don’t want to be served cake without the frosting on it,” he laughs. “But it’s a question of degrees of the frosting. You’ve got to have a light hand, basically.

“If you have something that’s badly recorded and mixed, a mastering engineer can come in and give it shape and dimension and depth by adding EQ and compression and other mojo to it, making sure the levels work and the spacing between songs is right — and then getting it into the medium from which it can be manufactured.”

Was maintains that like every musician and producer that works on an album, the mastering engineer leaves his unique fingerprint on the recording as well.

“Every mastering engineer has got their own gear and set-up, and that set-up has a sound to it.”

And that introduces another challenge: maintaining the integrity of the original mastering engineer’s work.

“Let’s take the Blue Note remasters for example: Rudy Van Gelder, the legendary engineer who recorded most of the classic Blue Note Records, mixed directly to stereo on quarter-inch tape,” Was explains. “There was no multi-track tape, so he mixed live. So the music went down and it came out mono or stereo and that was it – there was no going back to remix it.

Blue Note Records’ Rudy Van Gelder

“He also mastered, and the way he mastered that day has a certain quality to it and it’s definitely different from when you hear what’s on the master tape.”

When it came to the initial listens of remastered works that had been converted to hi-def and transferred to digital at the 96k/24-bit and 192 k/24-bit rates, Was noticed that the music felt different than how he remembered it.

Was says Van Gelder pre-emptively mastered the record for vinyl to ensure there would be no technical glitches when consumers played them on their home audio equipment.

“Rudy mastered for vinyl: he added some and some EQ, just so the phonograph needle wouldn’t skip and certain sonic peaks wouldn’t mess with the needle,” says Was.

“In doing that, he altered the sound and that’s the sound everybody knows and loves.”

When it came to updating Van Gelder’s work for today’s format, Was says the label was placed in “a moral and ethical quandary.”

“Who are we to editorialize on this stuff, 50 years after the fact?” said Was. “What is the standard by which you remaster to? And we decided that the original vinyl was the standard: that’s what everybody decided who was involved – (Blue Note co-founder) Alfred Lyon, the musicians we decided to put out into the world: that’s what people bought and that’s what people loved. So we tried as closely as we could to master with the goal of returning to the original sound of the first pressings.”

Double GRAMMY winner Bernie Grundman (Album of the Year for OutKast’s 2003 gem Speakerboxxx/The Love Below and 2007’s Herbie Hancock’s star-studded tribute to Joni Mitchell, River: The Joni Letters), tasked with remastering the majority of Blue Note titles, confirms that vinyl sets up its own challenges.

“Vinyl doesn’t sound like the lacquer that goes to the factory,” he notes. “The medium itself changes it, and the processes it goes through when you’re making the vinyl actually changes the sound. It’s not the same as making a tape copy because that’s a re-recording process. With the vinyl, it’s not re-recorded, but it is transferred to metal through electroplating, and that actually affects the sound. So a vinyl disc does not sound like the tape or the lacquer. Once it comes back from the factory, you can tell the difference: It is warmer and it tends to take on a ‘bassier’ sound.”

Bernie Grundman

For the Blue Note project, Grundman built his own console.

“It’s a simplified, more straightforward board, with the functions we needed to simulate a lot of the things they did on the Blue Note albums.” says Grundman, who started his Bernie Grundman Mastering business in Hollywood and has since expanded to Tokyo. “So it bypasses completely our normal chain and toes right from the tape machine through very simplified electronics right to the computer.”

Oh, and Grundman, who is making Blue Note archived copies rated at 96/24 and 192/24, also built – or, in his terms, “hot-rodded” – the computer.

“It may be the cleanest-sounding computer in the industry, “ declares Grundman, who estimates he’s worked on over 70 Blue Note 75th Anniversary titles. “I don’t know if anything could match it, because I don’t think anyone has ever gone inside a computer and done some of the things we did.”

Virtually all remastering gurus agreed that when it comes to adjusting their approach for today’s formats, most don’t.

However, Bob Ludwig contends that digital remastering for iTunes is a slightly different beast.

“It’s not an equalization or compression thing, “Ludwig explains. “It’s a process of lowering the level into the encoder for the AAC file, and by lowering the level into the encoder, Apple has showed us that it creates much less distortion and can make a much more accurate encode to the point where a well made mastered-for-iTunes file sounds closer to the 24-bit master, than the 16-bit compact disc does.“

Mastering engineers spend a lot of time sifting through source material, sometimes contending with lost masters, studying copious notes made at the time of the recording, but in the end, if the job is done right, it’s worth it.

Led Zeppelin’s Jimmy Page says that when you get remastering right, it unlocks a door to the past and provides historical perspective.

“When you’ve got a chance to really listen to all of it, it gives a window — it’s like a portal — into that time capsule of when each album was recorded, “ he says. “And that gives you a really good taste. It works all the way right through the catalog.”

Blue Note’s Don Was says his exercise is one of passing it forward, to hopefully garner the music an introduction to some younger fans.

“At age 62, I find the music still means a lot to me.,” says Don Was. “This is what I listen to, to recharge myself, to feel good. I read this interview with Bob Dylan where he said that the job of the artist is not to tell you how they feel, but to put you in touch with your own feelings. And that line really stuck with me, because that’s what the Blue Note music does to me.

“I hope that in doing the reissues in this way, that there are some new fans of the music who will be able to enjoy the same experience and carry this music with them for another 50 years.”

 

 

 

 

Bryan Adams slips back into the groove

Bryan Adams slips back into the groove

Canadian rock star Bryan Adams says fans who like his music are going to love his new album, Get Up, “especially if you liked the stuff from the past.”

 

Nick Krewen, 

Music, Published on Fri Oct 16 2015

 

Short, sweet and succinct.

Get Up, the newly released 13th studio effort in the 100-million-record-selling Bryan Adams canon, contains 13 rock ’n’ roll songs that run a total of just over 36 minutes.

But four of those songs are acoustic retreads of the electric originals, so if you just count the nine primary numbers, the whole thing clocks in at 25 minutes.
That’s pretty short.

“There’s no frills,” Adams, 55, the rock star and celebrity photographer recently acknowledged in a Shangri-La Hotel suite during a recent visit.
“I think that’s what’s kind of nice about this: it’s very direct, very concise and it’s a very quick record.”

Adams also said, in this age of short attention spans, it’s an album that his record company felt it could handle.

“When I was getting to the point where I had enough songs, I called my record company and said, ‘Look, I think I’ve got an album here,’” he expounds. “One of my questions was, ‘How many songs do I need?’ And they came back and said, ‘Don’t give us a lot of music, because we can’t do anything with that. We wouldn’t be able to do a lot with a lot of songs. But if you give us a really succinct record, we’ll be able to do something.’

“And I said, ‘That’s quite good . . . because that’s what I’ve got!’” he laughs.

Helping Adams realize that artistic vision was Jeff Lynne, who is reviving his own Electric Light Orchestra with a Nov. 13 album called Alone in the Universe.

Lynne, who has produced hit albums for George Harrison, Tom Petty, Paul McCartney, the Traveling Wilburys (of which he was a member) and others, helped Adams craft a catchy, fun, hook-filled album that is full of radio-friendly rock. Most of the songs hover around the two-and-a-half-minute mark.

“He has great understanding about rock music,” said Adams, a Kingston, Ont. native, smartly but casually dressed in a custom-tailored crimson dress shirt and blue jeans.

“When you make a great record, it’s kind of a three-tier process. The first is the writing of the song, the second is the demo and the third is making a record. And you hope with each level of that process that it gets better.

“Whenever I made a demo with (Bob) Clearmountain (producer of Adams’ breakthrough albums Cuts Like a Knife, Reckless and Into the Fire), the level was, ‘That’s where we are now and if it isn’t better than the demo, we’ve got to go back to the demo and figure out what it was.’
“So we’d chase that a bit. And we always made it better, which was good.
“In the case with Jeff, it was exactly that: I would send a demo; Jeff would send it back as a record. I mean, he totally got it on every single level. On my vocal. The placement of my mixes, everything.”

In fact, Adams goes on to say that Get Up is an album he wished he made 25 years ago.

“When I think about the trilogy of You Want It, You Got It, Cuts Like a Knife and Reckless, those records have a real unity to them. These songs could have been on the same record. I feel I could have slotted this album in right after Reckless.”

Contributing to that particular sonic unity is the re-emergence on Get Up of Vancouver-based Jim Vallance as Adams’ chief songwriting partner.

The duo was responsible for such time-honoured Adams classics as “Summer of ’69,” “Run To You,” “Heaven” and “Cuts Like a Knife” before taking a break following 1987’s Into the Fire.

“We’ve been working quite hard over the last five or six years on songs,” Adams notes. “It’s taken us a couple of years to get back up to speed and it feels really natural.”

Adams wasn’t even considering making an album until the duo submitted a track to Lynne.

“When Jeff came along and asked me if I wanted to cut a track, we got it back and I said to Jim, ‘Do you think we’ve got something here?’ He replied, ‘I think we really do.’ We sent another song and, suddenly, everything started to come together. There was a focus: this is where we’re going.”

The 19-time Juno Award winner and Canadian Hall of Fame member says he wanted to hire Lynne as a producer as far back as the 1999 song “The Best of Me.” Currently there no plans to work with him again, but Adams says he’d like to.

For the moment, Adams is enjoying the tail end of a busy two-year period that saw him release his cover songs album Tracks of My Years, the 30th anniversary edition of Reckless — the very first album by a Canadian artist to sell one million records in this country — and an anniversary world tour, as well as a book of portrait photography called Wounded: The Legacy of War (with journalist Caroline Froggatt) that benefited war veterans.

Now he’s planning to follow it up with a world tour to promote Get Up, and figures it should hit North America and Toronto sometime next spring or summer.

“It’s a very cohesive record and I know it’s going to be a lot of fun to play,” he says. “It’s definitely a band album. Fans who like my music are going to love this album a lot . . . especially if you liked the stuff from the past.

“If you like those old songs, you’re going to love this record. It feels modern to me. When you listen to a song like ‘That’s Rock N’ Roll,’ it sounds fresh to me.”

 

Bryan Adams slips back into the groove | Toronto Star

Bob Dylan and The Band’s complete Basement Tapes resurface at last

Toronto duo largely responsible for lifting the veil off “the most sought after and mysterious recordings from the post-nuclear, pre-digital era.”

Nick Krewen

Music, Published on Wed Nov 05 2014

 

Sitting at Johnny Rockets, a ’50s-style burger joint in Yonge-Dundas Square, my dining companion pulls out a cardboard envelope and hands it over.

“Open it up and have a look. Have a little whiff,” he insists.

Inside is a box containing a reel of recording tape, inscribed in marker with the following song titles in order: “You Ain’t Going Nowhere,” “Any Day Now — I Shall Be Released,” “If Your Memory Serves You Well,” “You Ain’t Going Nowhere” (Take 2 is written beside it in pencil), “I Shall Be Released” and two separate takes of “Too Much of Nothing.”

It takes a moment to sink in and realize what I’m actually holding: an original Basement Tape, one of the more than 20 reels recorded by Bob Dylan and the majority of Toronto legends The Band when Dylan was convalescing in Woodstock, N.Y., following a 1966 motorcycle accident.

How do I know it’s an original?

Because my dining companion is Toronto’s Jan Haust, Canadian music archivist, current curator of the Dylan-driven collection, and primarily responsible for the release earlier this week of The Basement Tapes Complete, a lavish six-CD set issued by Sony’s Legacy that finally lifts the veil off what Haust calls “the most sought after and mysterious recordings from the post-nuclear, pre-digital era.”

He’s not kidding. Music fans have been waiting nearly half a century to hear these recordings: 138 takes of 115 songs, all of them recorded informally throughout 1967 by The Band’s Garth Hudson, mostly in the cramped Woodstock-area basement of the abode known as Big Pink.

Jan Haust with Garth Hudson

Every note of such future Dylan-penned classics as “You Ain’t Going Nowhere,” “I Shall Be Released,” “This Wheel’s On Fire” and “The Mighty Quinn;” covers of well known and obscure songs like Hank Williams’ “You Win Again,” Ian Tyson’s “Four Strong Winds” and Johnny Cash’s “Belshazzar” has been lovingly restored and digitally remastered in Toronto by Haust and renowned Cowboy Junkies engineer and producer Peter J. Moore.

Prior to this week’s releases (there’s also a two-disc Sony edition of highlights called The Basement Tapes Raw), fans had received a limited taste of the Big Pink sessions, including the official 24-song The Basement Tapes and a few tracks that have surfaced since, mostly notably “I’m Not There” from the 2007 Todd Haynes film of the same name.

The Basement Tapes sessions were significant for a number of reasons.

First, the relaxed atmosphere of everyone crammed into an intimate space allowed Dylan (who performs at the Sony Centre on Nov. 17 and 18) to explore another songwriting direction, which was a little more laidback and humorous.

“What was going on for the most part, pretty basic,” recalls Hudson, who set up the basement with microphones, a recorder and a mixer, in a separate phone interview.

“He (Bob) would write the song upstairs, couch and coffee table, then take it down and we would play it, and usually, not even run through it once. We’d do the introduction and then a bit of the song and then I would put the machine on record.”

Some argue it may have been the birth of alt-country, but a bigger significance is that it completed a musical coming of age.

“It’s where it all ended up coming together,” notes Haust. “And that’s the fascinating component here. The basement is the incubator of what became The Band.”

The Band

For Haust, the release of The Basement Tapes Complete marks the end of a 12-year journey for him and Moore, the engineer. The duo first heard the tapes, through an arrangement via Haust’s friendship with Hudson, when Robbie Robertson was assembling 2005’s The Band box set A Musical History.

“Some of the tapes were in rough shape, through no fault of Garth Hudson’s and through no fault of anyone’s,” Haust recalls.

Several reels were mouldy and Moore had to delicately unwind and re-spool some 1,800 feet of “very, very thin” reel-to-reel tape by hand on a few others to “flatten them out.”

There was also a bigger challenge: all the songs were recorded on a rare quarter-track machine with such poor quality tape that Moore didn’t have the equipment for proper playback, let alone restoration.

“These tapes were never meant to be heard by the public,” said Moore in a separate interview. “These were sketches — the jotting down of ideas. So the tape’s speed was 7½ inches per second, where most of your quality pro recordings are at 30 or 15 inches per second. I told Jan, there’s no such thing as a professional quarter-track machine.”

So Moore had to get a playback tape head custom made for his own equipment and found a New Jersey manufacturer who had the expertise to make it. The request was so rare that the manufacturer, Jim French, had only built one prior to Moore’s request.

The buyer? Neil Young, known for being quite persnickety when it comes to technical recording tools.

“Once I heard that, I knew I was following the right logic,” Moore says.

When Dylan’s manager Jeff Rosen and Sony Music finally commissioned Haust and Moore to assemble The Basement Tapes Complete, the duo huddled in Moore’s studio from March through September, deciding to follow Garth Hudson’s original lead and sonically restore what was going on in the basement.

“We kept the integrity of what Garth envisioned,” says Moore. “I didn’t add reverb or anything to these tapes. I’m phase correcting — not changing the picture, just realigning the lens.

“But when you realign the lens, all of a sudden you have that much more depth of field. I phase corrected a lot of the tapes and suddenly the bass appears. You’re actually hearing the bass for the first time — Rick (Danko) and his lovely melodic glissandos and everything he’s doing on that bass.

“Whereas on the bootlegs, there’s no top end, no bottom end, just more of a whiny mid-range. I’m bringing it into focus.”

The sound is immaculate, even impressing the man who commandeered the original tape recorder, Garth Hudson.

“I remember the sounds very well, the background sounds and the instruments,” Hudson says. “What we have now is clarity. It was a lot of work on Jan’s part and Peter Moore with his incredible talent. The voice is more alive. It’s clearer. And Peter has also assembled and revived tape that has been crinkled, stretched. So it’s been a big process.”

Now that The Basement Tapes Complete has finally seen the light of day, Haust and Moore have one more ambitious project in mind: an eight-CD, DVD and book box set chronicling Levon and The Hawks, dating back to their individual pre-Ronnie Hawkins musical pursuits in the late ’50s.

In the meantime, Haust will savour the arrival of The Basement Tapes Complete.

“I’m pleased as punch that we were able to put it together,” says Haust.
“This is the first time ever that a Bob Dylan project was produced in Toronto. That’s very significant. It’s four Canadian rock ’n’ rollers and an American folksinger. Now we’ve set the record straight. . . .

“We have cleaned up these recordings. We have repaired the damaged tape. We have treated these 47-year-old recordings like the archaeological gems that they are.

“This isn’t the Mona Lisa. These are the sketches.”

Sony executive Steve Berkowitz, Jan Haust and Peter J. Moore receiving a Grammy for their compilation and restoration work on Bob Dylan: The Basement Tapes Complete

 

Bob Dylan and The Band’s complete Basement Tapes resurface at last | Toronto Star