Some facts about the new Velvel Kinks SA-CDs

For a while now, I’ve been reading the speculation and controversy here about the new Kinks SA-CDs. I hope to set the record straight with this post. First and foremost, Bill Crowley, an A&R consultant at Koch, who also happens to be a dyed-in-the-wool Kinks fan, championed the re-issue project. This was a very personal project for Bill and his goal was to present these classics in the best possible light not only on the DSD layer, but on the standard Red Book layer as well. The Kinks are one of Bill’s all-time favorite bands and he has every version of every release from the first LPs on up. The sources for the new mastering were high-resolution transfers of the original mixes played from a customized Ampex ATR-102. All of the tracks appearing on the original albums were done from those transfers. Some of the bonus tracks which Velvel added to the releases existed only on a collection of DATs belonging to Ray Davies, and perhaps this is where the “Ray Davies’ DATs” rumor originated. The albums proper, however, were mastered from the original mixes only.

Bill made it known early on that he did not want these re-issues to be over-compressed or over-EQ’d. He also wanted them mastered so that they could be listened to loud on a good system as well at normal volume on an average system. New, as yet un-released converter technology was used for the DSD layer, and only linear phase DSP was used in preparing the Red Book layer. Both layers are comprised of the same content differing only in the conversion techniques optimized for each format.

This project was both very challenging and very fulfilling from the mastering engineer’s standpoint. It was the kind of project that called into play all the experience and dedication to the mastering craft garnered over a lifetime. I know because I am the engineer hired by Bill for the project. I hope our efforts meet with your approval and open the door to making a new discovery of these brilliant and historic albums.

Alan Silverman

 

Thanks for posting this! I am looking forward to "Muswell Hillbillies"!

Sean

 

Wonderful to hear the truth about this. I was kinda bummed out hearing the DATs were being used, but this is refreshing and exciting news.

"Muswell Hillbillies" for me too!

 

Thanks for your post. I am also a Kinks fan and am anxious to hear about the sound quality on these remastered releases. I am curious about your line:

While I don't want to beat a dead horse, I am confused by the words "high resolution transfers" Does this mean original master tapes or not. It is still unclear and when I first read this line, I interpreted it to mean a second or third generation tape or DAT. Can you clarify?

And since these are being released today, can someone post their impressions on the sound quality. We already know the music is great.

Thanks.

 

Thanks for that info Alan! Now I'm REALLY looking forwward to getting goosebumps latrer today when I spin the SACD MISFITS for the first time!!!

 

Thank you Mr. Silverman for taking the time to post here. I'm sure all of us Kinks fans are looking forward to hearing these!

 

This project does indeed sound promising. Thank you for posting Mr. Silverman.

 

I have the same question. Also, one of the things I love about Steve's work is that he uses no compression at all. If that's something that is possible with future Kinks' releases I would like that.

 

Sure. I worked from 88.2k 24-bit transfers of the original master tapes. The transfers were made with an Ampex ATR-102 analog deck wired directly into a Pacific Microsonics Model 1 converter - one of the best. HDCD encoding was not applied since these were double-sampling 24-bit transfers. The albums proper were sourced only from these 88.2k high-resolution transfers.

Mastering was done entirely at 88.2k in 32-bit float with Weiss Linear Phase mastering processors. The final 88.2k master files were down-converted to 44.1/16-bits with the Weiss SFC2 and POW-R dither for the CD layer. For the DSD layer, the 2Fs masters were modulated to DSD with proprietary new software from SigREAL. In my own tests of different means for getting from 88.2 to DSD (of which I did many <g>) the SigREAL came out on top by producing an analog like sound with great punch, a solid low-end, and smooth mids and highs.

I was happy to read that Charger gave us a thumbs up on this board, and I have received positive comments from someone at MoFi as well as from the Kinks Fan Club. I hope this puts the "2nd generation DATs" rumor to rest.

Best,

Alan Silverman

 

Alan,
If you can, would you be willing to tell us why the process wasn't original master tapes on the Ampex ATR-102 directly to DSD?
Thank you very much for contributing here at the Forums!

 

Well, that begs the question: What about the 2 titles that MFSL released (Low Budget & Show-Biz)? Are you also doing them? Will the MFSL transfers be reissued on KOCH, or will they just remain with them? What about when their window runs out? Does the fact that they were NOT transferred directly to DSD mean that DVD-As are also coming?

 

I think it's important when engineering an SACD to enter the DSD domain only one time during production. DSD behaves a little like analog in that when you modulate to it there is a slight generation loss and an increase in noise. In DSD's case the noise is ultra-sonic, but it does increase with any remodulation. To signal-process a DSD recording, some form of trans-coding to PCM is required - even if it is just to change level. So, if you transfer to DSD first, you'll have to convert to PCM to do anything with it, and then back again to DSD for release. I think the fewer conversions the better. A second conversion to DSD robs you of some impact and definition. It's slight, but it is audible. Different strategies for different projects. In this case, what we did was the purest way to go.

 

AFAIK, the two that MoFi did will be reissued on Velvel. DVD-As could easily be done from the 88.2k final masters. It is interesting that they have a very different character from the DSD conversions. More literal in a sense, but I really like what DSD brings to this party.

 

So has MoFi's license run out on these two titles yet? I am also curious, then, if MoFi used the exact same analog tapes you will use/have used to master these two albums.

I have the MoFi editions and I look forward to comparing them to your newly mastered versions.

Thanks for all the information.

(Still anxiously awaiting cduniverse.com to ship the initial batch of Kinks SACDs to my home.)

 

Sorry, I should have been more clear. My understanding is that MoFi's mastering of "Low Budget" and "Everybody's In Show Biz" will be re-released under the Velvel imprint.

 

Thaks for the info and participation. DSotM's SACD surround track was mixed in 24/96 PCM, and it sounds great to me, so sourcing these from a 24/88.2 intermediary doesn't frighten me.

Are you saying that the DSD colors the sound in a manner that you find pleasing?

 

Thanks for the info.


Don't tell anyone, but you just saved me from having to buy them again and find out I bought the same exact master in a different package.

 

I recall that the 1999 Velvel version of Low Budget had a problem where the lp version of "A Gallon of Gas" was actually the same as the bonus cut, which was the U.S. single extended edit. I'm assuming that this will be cleared up on the new version, but does anyone know if the MFSL version has the proper lp version of "A Gallon of Gas"?

 

Alan, thanks for your clarification. I have just ordered several titles.

 

IIRC, the MoFi hasn't fixed the problem. That's why I never bought it.

Sean

 

I don't know if I'd call it coloration since the frequency response is flat, distortion is extremely low, and impulse response is excellent - it's more of a character that differs from LPCM. DSD seems to smooth out rough edges and makes hard drums and electric guitars a little kinder to the ear, similar to what you'd expect from analog tape, but without the tape noise, wow and flutter. I wouldn't presume to explain it technically, but it's what I hear.

 

Fascinating. Thanks for your answer.

 

Thanks for posting Tweaker. I am looking forward to getting some of these.

I am told that the artwork on these indicates that there is a surround track, however there is not. Was that ever considered? Is it possible for a future release?

Thanks

 

HOW DO THEY SOUND?