Post by Deleted on Jul 5, 2015 2:48:36 GMT
As some of you might know, I quite like ( ), Robert Johnson (A.K.A. GOD).
I have spent a fantastic couple of hours tonight listening to all of his 29 songs (+ alternate takes) through my Beyerdynamic DT-150’s at silly volumes. The DT-150’s seem to add the missing lower octaves from these 70 + year old recordings !!
Please take it from me that Johnson was only ever recorded twice – once in the Gunter Hotel, room 414, in San Antonio, Texas, in late November 1936. And finally in June 1937 on the 3rd floor of the Vitagraph Building, again in Texas. Just 29 original songs in all, (although a few alternate takes were recorded).
I have the “Pristine Classical”, ‘Ambient Stereo-XRCD’ recordings of Robert Johnson. They are exceptionally good re-masters. They have a full bottom end, and sound much cleaner, and clearer, with less hiss and ‘surface noise’ than my other two recordings. The XRCD recordings sound much more ‘Real’.
I know, because I have the other two releases of these vintage recordings, namely the 1990 release of “Robert Johnson : The Complete Recordings “ on the Columbia label, and the 1997 release of Robert Johnson ‘Cross Road Blues’ on the New Sound 2000 label. Both of which sound absolutely identical.
Now, with that bit of background info, can someone answer my query?
How to make sense of this statement on the “Pristine Classical” website?
“Notes on the restoration: This experimental release came as a result of a late-night conversation with the head of another classical record company, following discussion of the wider possibilities of Pristine Audio's XR remastering system. As XR relies on modern reference recordings to precisely re-equalise older recordings in order to correct the inadequacies of vintage recording systems, it's often hard to use outside of the classical sphere. However, the music of Robert Johnson has been widely recorded, and it was possible to find modern equivalents of many of these recordings, from which I was able to derive further equalization for the remaining tracks.” (My emphasis),
You see my confusion, don’t you? We know that Johnson, in his whole life, was only ever recorded twice. So how can Pristine Classical find ‘modern equivalents’ of these ‘widely recorded’ tracks??
Anyone have any ideas?