Every once in a while I find a fantastic article that is both informative and very relevant to vinyl in particular. Take the time to swing on over to the All About Jazz site and read this comprehensive look at the record making process:
SOURCE: JazzWax by Marc Myers
I don't know about you but I've always been curious about how Mosaic Records remasters recordings for its box sets. A long-time fan of Mosaic's restorations and attention to detail, I favor the “Producer's Note" that appears at the back of each set's calendar-size liner-notes brochure. Written by Scott Wenzel, Mosaic's award-winning producer, the note often tosses around terms like “metal parts," “lacquer discs" and “second generation LPs." After listening to Mosaic's new Classic Artie Shaw Bluebird and Victor Sessions, I decided enough was enough. I was going to get to the bottom of the process.
My first call was to Scott Wenzel, who told me how Mosaic's projects begin:
“The entire team here meets to discuss project ideas and the availability of original source material. Once we agree to move forward on a project, we work out a license agreement with the company that owns the masters. Then I research the discographical data and begin to create a master list of each track and the various known takes. I also assign the liner notes to a writer. When I've completed the list, I reach out to one of our superb transfer, sound restoration, and mastering experts to handle the project."
In the case of the Artie Shaw box (and many other Mosaic projects), that person was Andreas Meyer [pictured], who runs Meyer Media. So I called Andreas to find out what steps took place:
JazzWax: Did you simply drive over to Sony's RCA vault and pick out what you needed?
Read the rest here: Artie Shaw: Making of a Box Set
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