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About this Site
Digital
Companion vs. Discography
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The Digital Companion is a parallel
sub-web within the Perry Como Discography having independent internal
links. Individual song links within the Companion will open a special
Digital Finder database which will help you identify songs
released on specific compact discs
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whereas discography links have a very different purpose. Discography
links will follow individual songs to their original source with full
background information in minute detail. You may move between the
Discography and the Digital Companion through hyperlinks located at the
bottom of each page. Take care to learn the two different purposes of
the Digital Companion and the Discography Sites while searching for
information about these recordings.
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Quality vs. Mediocrity
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North American BMG compilations, BMG
Special Products and International compilations are of variable quality
depending on sources used throughout the re-mixing and remastering process
from analog to digital. Best quality recordings are remastered from the
original first generation tapes by engineers clearly identified. Unless this
information is explicitly stated within packaging, it's very unlikely that
the digital transfer process is of high quality. Be wary of recordings
released in monaural or electronically reprocessed stereo when, in fact,
they are known to have been recorded and, or, previously released, in real
stereophonic high-fidelity sound. Even though International compilations can
be of good quality, they are unlikely to have been sourced from first
quality sources.
What is a "master" recording?
The phrase "original
master recording" is commonly used indiscriminately within the music
industry. There is only one original master recording, and that's the
recording made at the time of the original recorded performance, but the term
"master" is commonly used to describe almost anything used as a source. An
original stereo recording may have been recorded originally on three or more
tracks which would then have been mixed-down to stereo for release on record.
Songs mixed-down, assembled and transferred to tape for one side of an LP
record may form what is commonly called the "stereo LP master" or "monaural LP
master" for one side of a long play record. In the case of a single record or
extended-play multi-track record, each record side might be referred to as a
"release master". The release master is then used as the source tape for the
phonograph record. In the majority of cases, it's this release master which is
used as the source tape to make a compact disc. There is an artistic argument
for using the release master as a source simply because it accurately reflects
what was originally released on record. The highest fidelity, however, is
almost always achieved by returning to the original first generation master
recordings. This is the most expensive option because it involves careful
handling by highly specialized mixing and mastering engineers.
Perry's 1959 album "Como
Swings" was recorded to a first generation three-track master tape. These
recordings were then mixed-down to four separate LP master tapes, sides "A"
and "B" for stereo and sides "A" and "B" for monaural. These tapes are then
referred to as the actual LP master tapes for simultaneous release in monaural
and stereophonic sound. Several things may have happened during the
engineering, mix-down and mastering, of these tapes. Separate takes may have
been edited to form one and the recordings may have been frequency manipulated
to compensate for various playback limitations of the day. Those playback
limitations may not be relevant in the new millennium. Nevertheless, if we use
these original LP master tapes as our source, those same limitations are still
inherent within the tapes. Many people have long suspected that there's more
to these original three-track master tapes than we have yet heard. No matter
how we manipulate the stereo LP master tapes, with 20 and 24 Bit mastering
etc., there's very little benefit to be obtained. Doing all of this is a
marketing ploy, no more and no less. It's important for us to get back to the
originals with highly competent engineers who know what they're doing and who
possess the skills to do it. This has yet to happen.
The confusion and deception
within general releases is caused by fly-by-night labels and compilation
producers who use copies of copies of these original LP masters as their
sources, absent proper engineering. The lowering of standards within the music
industry is in epidemic proportion. The level of deception has never been
greater.
Pirates & Bootlegs
Many compact discs
are in fact sourced from broadcast performances as opposed to the original
studio recordings. There is nothing inherently wrong with this practice as
long as the recordings are clearly identified as such and you understand
what is being purchased. Unfortunately, there is a great deal of deception
in this respect and buyers should be cautious. An equally dubious practice
is when labels source their recordings from private record collections instead
of the original master recordings as a way of circumventing the original label
and artist copyright. Even though this practice may be technically legal within some international
jurisdictions, it
isn't ethical — especially when labels fail to mention sources and give the
impression that original sources were used.
What to do?
When you purchase a compact
disc which is less than satisfactory, or misleading in any way, it's very
important to make the label aware of this fact. Far too many people simply
accept the level of mediocrity now being distributed widely. The market will
never improve if the labels, retail stores and on-line dealers are successful
selling these type of recordings. Make them aware that you know, return
recordings directly to the label and demand better. Seek a complete refund of
all costs, taxes and transportation costs etc., as compensation. This is the
only language the labels understand and their only reason for making better
products. Turning the other cheek to mediocrity will only bring more of
the same and postpone the time these recordings will be re-released properly.
All recordings recommended
by this webmaster are marked clearly within the "Featured" section of the
Digital Finder hyperlinks. If you're wondering why a particular recording is not
included within this group, write and ask —
I'll be happy to explain. I'll also be happy to explain why the featured
recordings are recommended in the event that someone disagrees. Many featured
recordings could actually be much better but are included because they
represent good value for the money.
My position is clear:
if labels and compilation producers choose to use multi-generational copies as
their sources, because it's easier, cheaper or for whatever valid reasons they
choose, artistic or technical, then all they need to do is admit it openly. If
they choose to re-release recordings in the public domain, freely available
without paying the artists or labels, and should their sources be old records,
music cassettes, other compact discs etc., then surely they should admit it.
Let the customer choose. There is never an excuse or a justifiable reason for
deception. It's time to bring integrity back to the music business where it
belongs.
If you agree with me,
then say so! Write to the labels and tell them. Tell the retail stores and
on-line dealers that their deception is unacceptable. If recordings are not
what they should be, return them for a full refund or send them to the highest
executive at the record label and demand an explanation, a replacement and,
failing that, compensation for your efforts. We owe this much to great artists
and the legacy of their music. Mediocrity must not prevail!
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- George Townsend
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webmaster@kokomo.ca
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Garbage in Garbage Out! |
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