Pre amps cost vs. value ... what I discovered last month.

Remastering can be great, sure. It’s a mixed bag. Generally the place to being with any remastering is to figure out WHO initiated it, and WHO oversaw the process creatively and WHY was it done at all? Intentions and persons matter. Some of Bob's work is excellent.  He is the granddaddy of mastering along with Bernie Grundman in LA.  

All work is approved by the artist, or label, or someone ... so factor that in always. When a record sounds great, everyone did their job well.

Brian,

You had mentioned previously that the recording artist and the producer have a strong influence on the mastering step, correct? If so, do you find that this influence at thimes compromised the end product in terms of dynamics, soundstaging, etc...? Going along that train of thought, do you have certain examples of your work where you feel that this influence didn’t deter you from creating the most natural, life like reproduction of the music that was heard during the recording process?

Perhaps these are silly questions because you may say that every one of your works is the best possible music that could have been created (which may be your answer). I’m not sure if you have some projects that you felt that the music and sound came across with in a way that audiophiles seems to think of as the most transparent and lifelike.

Cheers. Thanks for taking your time to contribute here.

FYI: I'm not a scattered, aliterate writer  - based on my posts above. It's just that voice to text while I'm driving sometimes isn't all that accurate. 

no worries @simao i didn't notice.  Again, no fear of perfectionism around me, we are communicating here not posturing to be the smartest person in the room

@brhatten I'm not sure how to respond to "most natural, life like reproduction of the music that was heard during the recording process?"  Recordings in the modern world, like aways truly, are distorted and mangled and manipulated on purpose as part of the presentation.  It's an ongoing sculpture of intentional distortions and non life like filtering.  The aim of music is not the live event.  Even live recordings will never and CAN NEVER measure up to the live event.  That is a mythical unicorn that takes up too make people's time as a criteria.

Similarly I'm confused by "compromised the end product in terms of dynamics, soundstaging"  

The recording process does not end at mixing.  Everything that comes to me comes out better in terms of musicality, punch, artistic statement, clarity, soundstage, freq balance, ability to connect, etc.  Now does that mean that it has more DR? Usually no, does not. 

So if DR is your main criteria, on an island, then you will be disappointed.   Yet my argument would be that LOWER DR sounds like MORE DR when it's done correctly. 

I can get into that more if you like but if you are looking for DR at 10db or greater, I do hundreds of records a year and can't point you toward one of those.  I would say the same is true of most MEs working today.

Thanks for your response. It is very educational to hear it from that perspective. 

I guess my questions  we’re coming from my observations while listening to multiple pieces of music from different recording artist. For example, I frequently listen to streaming music played through a very revealing, dynamic home system.  As it goes through different pieces of music I find incredible variations between the width and depth of soundstahing, And what sound like transparency of instruments and voice. 

 There are some pieces of music that reproduce the voices with such an amazing accuracy that it feels like the person is in the room. But, there are many other recordings of voices that sound bland and flat. 

On some recordings it sounds to me like instruments get layered directly on top of each other, pinpointed in the center of the soundstage. However, other times the instruments are “placed” in a sonic soundstage capturing the images as if they are standing next to each other (rather than on top of each other) on the stage between the speakers.

 There are some classical symphonic recording that create a soundstage where individual instruments are holographically positioned in space and can be easily “seen” in that stable space repeatedly during the musical piece. However, that experience is not universal by any means in other pieces of music. 

There are some jazz pieces  where the instrumental lines of music seem to  interact with each other with natural decay and rhythm that gives a sense of pace and and interaction of the instruments. But in other recordings, each instrument seems to cover the other and congeal the natural sound of each other. 

So I guess I’m asking, how much of these phenomenons that we hear is related to the work that you do and what control do you have in creating this?