sunnuntai 23. heinäkuuta 2017 17.36.49 UTC+3 Brian Gaff kirjoitti:
It does seem though that in the 70s we had mixes for some recordings with a
definite middle to top emphasis. I suspect this might well have been added
by the cutting engineer to overcome some of the problems of analogue systems
perceived at the time. This was why CDs made from the vinyl masters sounded
so toppy and bass light.

Mastering in the vinyl days was somewhat different to what we do now. In analogue disc cutting, the object of the exercise was to cut a lacquer which when played back in rough sync with the master tape was as close a match as technically possible. Any fool could make it different:-)

Most recording/mixing engineers knew exactly what was and was not possible in stereo disc cutting. Many were working in studio complexes companies that had their own cutting rooms, and so had worked in disc cutting as a part of their training.

So the objective was to make a cut that sounded as close as possible to the master tape. This continues even to the present day with classical and jazz recordings in CD mastering. Gradually in pop music the mastering stage has become a separate step in the creative process in which considerable changes are made in EQ and dynamics so that the end result was no longer the same as the studio master (although all enhancements should be approved by the recording team)

Iain