Beating the RVG Horse

I have only a scant few of the original vinyl, but quite a few Classic Records re-issues. I also have a small selection of XRCDs. Anyone that has heard any of these three knows that the quality of the original master, while not always fantastic, still is capable of better sound than usually evidenced on the RVG re-masters.

I think the person/s doing the RVG re-masters has a "frequency rolloff" in the higher frequencies of his/her hearing.

I try to stick with vinyl and XRCD (and the less expensive K2 process) for most of my purchases these days.

I think the person/s doing the RVG re-masters has a "frequency rolloff" in the higher frequencies of his/her hearing.

My theory also. And that would be RVG his ownself, would it not?

Hedgehog,
They are re-mastered by Rudy van Gelder and for those who live in California, CD trader in Reseda has been dumping the RVG re-masters along with the 20bit k2's at 7.99 or 8.99 a piece. They have a wide selection.

Not sure if anyone is still reading this thread but....

This thread had touched on the original vinyl vs. the CD reissues. As I now have a TT and one Blue Note record I can offer some additional observations - I mean as far as I can get with one record anyway. The record in question is Kenny Dorham's Whistle Stop on a 1984 French reissue (I couldn't bring myself to spend the bread on an original). This seems to be a pretty high quality pressing.

In general, the sound of the horns is fuller, richer and more present, but the record still has some of the RVG hallmarks, such as the piano that sounds like a cheap upright stuffed in a corner and drums that sound like they were recorded as an afterthought. Great music though.

My two cents. I agree that the RVG remastered CDs, while many are creative master pieces, sound noticeably thin. And I think the ones from the early sixties sound more so than the ones from the late fifties as a rule.

Theory one: RVG's original recordings were engineered for home systems commonly in use from the mid fifties to the mid sixties. If my dad or others of this generation that I knew are any indication, they were using large console systems or stand alone tube amps with just OK cartridges and turntables and big boomy drivers. RVG's recordings were engineered "hot" with bumped up the treble so that you could hear the cymbals and horns in some proximity to live versions on HiFi gear in use at the time.

Theory two: RVG is re-mastering his original recordings for use by current audiophiles who he assumes are using tube systems and he has purposely engineered the sound to compliment the bloom of the tube based systems (OK, this seems unlikely).

Theory three: RVG now thinks the bright remastered CD versions sound just fine to him on a boom box or a $200K stereo.

Anecdotal evidence: I have an old Verve LP of Ed Thigpen engineered by RVG in 1962 at his studio and it just sounds marvelous on my not so fancy SS system. No tubes to sweeten it up. Compare that to original recordings RVG has re-mastered of works by Wayne Shorter, Lee Morgan and McCoy Tyner around the same time that sound a bit hard and thin to me (but extremely clear) in comparison to this old analog recording, and compared to modern Blue Note and other jazz CDs I own by various artists. I also notice much less of this effect with reissues of Columbia jazz recordings from the fifties (e.g. Dave Brubeck, Miles Davis, Charlie Mingus, etc.)

I am not so sure theories one and two hold up under much scrutiny. The material in most of these old recordings is top of the heap, and if you have tone controls, worth getting and monkeying with the sound until like what you hear. Or find good copies of the original vinyl and be prepared to pay $20-$50 and up a pop.