Philles Records Mastering

[JSngry]

I've managed over the years to accquire some original Philles 45s and LPs, and the one thing I inevitabley notice is how much more "Wall Of Sound"-y these originals than any reissue I hear. A glorious noise indeed, and not just from the crappy vinyl!

So, having learned more about record mastering on this board than I had ever know before, this leads me to ask a few questions:

• Does anybody know the "who"s and "where"s of the mastering of these records?
  
• Does anybody know if Spector himself was actively involved in the process? I'd imagine he was, but you never really know until you ask.
  
• Any ideas as to why ALL the reissues are so wussified (thanks, Kinky!) in comparison to the original issues?
  
• As a speculative side note, was the crappy, noisy vinyl strictly a matter of saving money, or did Spector perhaps view that as part of the total end audio picture?
  

I mean, you've never really heard "River Deep, Mountain High" until you hear it on an original 45. I had heard reissues of it, and kinda got what all the fuss waas about, but when I finally heard an original 45, I GOT it. Amazing. And don't get me going on the Christmas album!

I realize that this is a non-jazz matter, but I trust the folks here more than most "experts" elsewhere, at least for a first attempt to gather info.

As always, thanks in advance!

[wolff]

Any initials in the dead wax?

Are the reissues vinyl or cd? From what year/s? Could be a analog vs digital issue.

The remastering could have been done on cheaper/different equipment.

Not much help, I know.

[Steve Gray]

I guess this won't help much either but I do not think this phenomenon is limited to Spector.

I feel the same way about Stax 45's and their LP/CD issues/reissues.

The Sam and Dave CD reissues sound terrible compared to the 45's

Also, if you have only heard the LP or CD version of 'Let me come on home' by Otis, you will never know how wonderful it really is.

[mjzee]

On the general topic of '60's soul singles, I can heartily recommend the "Beg, Scream and Shout" box on Rhino. In many cases, they went back to the original singles - either the original mono single masters or the actual singles. It sounds great.

[Chuck Nessa]

Everything was in the RED zone in those days. Push, push.

[JSngry]

So, that would include the mastering levels as well as the recording levels, right? Recorded, mixed, and mastered at saturation point?

It might be apocryphal(sp?), but I've heard stories of some stations not being able to play Spector 45s because the needle wouldn't stay in the groove, so hot was the sound.

[J.A.W.]

Everything was in the RED zone in those days.  Push, push.

To my ears a lot is in the RED zone again these days.

Edited January 27, 2005 by J.A.W.

[Stefan Wood]

I always thought the 45s had the sound boosted, to give it that punch. Also the mastering for the 45s were different, and superior -- isn't that a reason why certain audiophile companies did 1/2 spped and 45 rpm masterings of certain lps?