Calling Occupants of Interplanetary Craft

Matthew,

Trust me, I know people who have been to his home. If you don't believe me, ask Kevan to clean up the KFC boxes all over the place. He'll know what that means.

Daryl

Daryl,

What does it matter? Elvis' 50s recordings have never sounded better. I ask again, what is your continued motivation for making insufferable unsubstantiated remarks?

'cause you're wrong!!!

I think you have quite clearly revealed yourself and your motivations when it comes to this messsage forum. Thankfully over time the riff-raff gets filtered out.

Who says that those '50s recordings sound better? You and a handful of Kevan's buddies on this messageboard may think so. But I guarantee you that if you played Kevan's stuff to any real mastering engineer worth his salt, he'd laugh. It's insulting to say that Kevan's work is better than George Marino/Ted Jensen's mastering work on 30 #1 Hits.

Daryl

Matthew,

Trust me, I know people who have been to his home. If you don't believe me, ask Kevan to clean up the KFC boxes all over the place. He'll know what that means.

Daryl

I'm sure Kevan will be pleased to read this on an international message board.
So Daryl why don't you send Kevan an e-mail to clarify how much of the CD he worked on. Then when you come back and say he didn't work on the muktitracks you will have a source to quote instead of making up what you think you know.

I can't help it if you don't have any common logic. Sometimes the truth hurts. But the truth always prevails.

It's not hurting me. I just want your truth substanciated by fact/proof!!!


When you make claims you need to be able to back it up, not with just hearsay.

I can't help it if you don't have any common logic. Sometimes the truth hurts. But the truth always prevails.

It would be favourable if you did post based on informed logical deduction, however you choose to do the opposite, time and again. But you are right, you can't seem to help it.

Matthew said:

It would be favourable if you did post based on informed logical deduction

Kevan Budd did the mastering on the following titles

Elvis Presley (2005 Mainstream reissue as well as FTD) - Mono
Elvis (2005 Mainstream reissue) - Mono with one binaural track "Love Me Tender"
Loving You (2005 Mainstream reissue as well as FTD) - mainly mono but does feature binaural tracks
Elvis At Sun - (2004 mainstream release) - Mono
Million Dollar Quartet (2006 mainstream release) - Mono


Let Yourself Go (2006 FTD) - features mono and stereo recordings. Is credited with the mastering, however, his track record shows that he hasn't done anything beyond mono and 2 track binaural.

Therefore I deduce that he only did the mastering of the mono tracks from the dressing room rehearsal on "Let Yourself Go" and did not do the stereo tracks.

There's your informed logical deduction.

Let Yourself Go (2006 FTD) - features mono and stereo recordings. Is credited with the mastering, however, his track record shows that he hasn't done anything beyond mono and 2 track binaural.

Therefore I deduce that he only did the mastering of the mono tracks from the dressing room rehearsal on "Let Yourself Go" and did not do the stereo tracks.

Mastering 2 track stereo mixdowns is no different to mastering binaural recordings. Both are 2 track. Stop making statements you can't back up...period. This goes for all posts Daryl, not just the one.

Matthew said:

It would be favourable if you did post based on informed logical deduction

Kevan Budd did the mastering on the following titles

Elvis Presley (2005 Mainstream reissue as well as FTD) - Mono
Elvis (2005 Mainstream reissue) - Mono
Loving You (2005 Mainstream reissue as well as FTD) - mainly mono but does feature binaural tracks
Elvis At Sun - (2004 mainstream release) - Mono
Million Dollar Quartet (2006 mainstream release) - Mono


Let Yourself Go (2006 FTD) - features mono and stereo recordings. Is credited with the mastering, however, his track record shows that he hasn't done anything beyond mono and 2 track binaural.

Therefore I deduce that he only did the mastering of the mono tracks from the dressing room rehearsal on "Let Yourself Go" and did not do the stereo tracks.

There's your informed logical deduction.

Does your informed logical deduction ever consider he has to start somewhere???

Again, Matthew, there is a difference between 3 track mixdowns and binaural. Binaural tracks only have Elvis in one channel and the band in the other. There really isn't a whole lot that can be done with them. When you start getting into three track, it becomes a little more difficult. And when you get up to 8, 16, or 24 track, you have to know what you're doing. Again, Kevan hasn't done these.

Daryl

Again, Matthew, there is a difference between 3 track mixdowns and binaural. Binaural tracks only have Elvis in one channel and the band in the other. There really isn't a whole lot that can be done with them. When you start getting into three track, it becomes a little more difficult. And when you get up to 8, 16, or 24 track, you have to know what you're doing. Again, Kevan hasn't done these.

Daryl

Now look here, you are just being pedantic and cumbersome. You’re continued belligerence is wearisome and frankly immature and to continue on the course you so blissfully adhere to is objectionable to the otherwise positive tone of this forum.

Give it a rest, shape up or ship out!

But the truth always prevails.

Again the FTD "Let Yourself Go" only credits Kevan but this is an error. Lene Reidel or Sebastian did the multi-tracks on "Let Yourself Go" and Kevan only did the mono dressing room recording, despite what Doc says.

Ernst, Roger and Kevan have all confirmed that the credits are 100% correct on Let Yourself Go (FTD).

If you persist even a single post further with your falsehoods and slander, be assured that our fine moderator, PEP, will be alerted.

And he WILL take action.

See ya!

Again the FTD "Let Yourself Go" only credits Kevan but this is an error. Lene Reidel or Sebastian did the multi-tracks on "Let Yourself Go" and Kevan only did the mono dressing room recording, despite what Doc says.

Ernst, Roger and Kevan have all confirmed that the credits are 100% correct on Let Yourself Go (FTD).

If you persist even a single post further with your falsehoods and slander, be assured that our fine moderator, PEP, will be alerted.

And he WILL take action.

See ya!

Hey Doc, I believe ya 100%

Wait a second! Sebastian ,Kevan worked on Multi tracks? One thing is working on stereo and the other is multi....3 and above considered multi...the rest even if they came from a multi track does not mean working on one as in mixing! I do not know about the last releases...but for the most part..the only credit for mixing has been to Reidel, and the other guy plus Memphis show person...and Ernst himself on one of those compilations that had LMT stereo etc...The live mixes that were released are better than multitracks for 1960 session according to the great original engineer..Porter Bill Porter! Ps. I could be wrong but mastering does not include mixing! PPs..Don't have anything to do with the fuss above! Just my 1/2 cent! PPPPS. Could be wrong about Lene..working from memory. But Sebastian and Kevan are NOT in the mixing game..yet! With exception of that 68 FTD which I do not have ..Yet.

Also hopefully there will be no need toremixanything from EP. It is of vital importance to remain true to the original mix..I was wrong and I admit it!This does not include live recordings..for me..that is. The rest should remain as authentic as possible. And mastering is just as hard as mixing. And we have good people mastering..except Lene. Sorry nothing personal. Ernst you should pay more! Ps. I am not drunk..my keyboard sux!

Personally i want to hear Elvis voice and his musicians as lifelike as possible without the constraints of 1950's/60's technology,make use of every technological advancement to achieve this.

Furthermore if for instance an instrument is unclear or not recorded properly then i even agree to overdubbing it back in,Screw this notion of Authenticicity,it's a complete falsehood to suggest that a recording with missing instruments is authentic whenin reality it's nothing like the original performance.

Plus overdubbing was carried out later for years by Felton on most of Elvis' work-so bring it all on.

You lot can listen to flat and sonically dead lifeless recordings with missing instruments,i want to get closer to the real experience.

I suggest you open yor minds and ears before it is too late.

Personally i want to hear Elvis voice and his musicians as lifelike as possible without the constraints of 1950's/60's technology,make use of every technological advancement to achieve this.

Furthermore if for instance an instrument is unclear or not recorded properly then i even agree to overdubbing it back in,Screw this notion of Authenticicity,it's a complete falsehood to suggest that a recording with missing instruments is authentic whenin reality it's nothing like the original performance.

Plus overdubbing was carried out later for years by Felton on most of Elvis' work-so bring it all on.

You lot can listen to flat and sonically dead lifeless recordings with missing instruments,i want to get closer to the real experience.

I suggest you open yor minds and ears before it is too late.

Well, yeah, but if an instrument is 'missing' - how do you know if the overdubbed/replacement one is true to the original ?

Gerry, back on topic, I cannot fathom a Richard Carpenter/Elvis Presley collaboration.

I fully appreciate the Carpenter's body of work in the 70's, and my feeling is that Richard understood the magic of his sister's lower range.
The strength of their hits, to me, is found in Karen's voice, and the writings of
Burt Bacharach, Hal David, Lennon-McCartney, and Paul Williams.

Richard also had an ear for covers ... Herman's Hermits, The Marvelletes, The Beatles, Neil Sedaka, and the Eagles. He physically drew his sister out from behind her drum set and reworked arrangements in a key to capture the full body baritone that was to become Karen Carpenter's trademark.

This lightening in a bottle only happened because of Karen's extraordinary talent, which Richard recognized. I side with DJC on this one. If Richard is truly one of our great musical producers, then where are his post 1983
masterpieces?
He has released one solo album, and nothing but Carpenter's anthology pieces since Karen's death. Anyone out there still listening to "Time"?
I didn't think so.


Had Elvis gone with a MOR album in the seventies, I would've preferred seeing him work with Paul Williams or Bacharach/David. They were able to
work with artists other than Karen Carpenter.

mmm. if I have to choose some shmaltzy 70s crap to listen to, I pick ABBA over the carpenters any day.

...if you take away George Martin then no Beatles.

Sure Karen's exquisite voice is what people remember but lets not forget about Richard's input..

It isn't her voice I remember!



bpd

Who says that those '50s recordings sound better? You and a handful of Kevan's buddies on this messageboard may think so. But I guarantee you that if you played Kevan's stuff to any real mastering engineer worth his salt, he'd laugh. It's insulting to say that Kevan's work is better than George Marino/Ted Jensen's mastering work on 30 #1 Hits.

Daryl

I defy anybody to say that the Sun recording of "When it rains it really pours" is better on the "Golden celebration" box set or "A legendary perfomer volume 4" than it is on the Kevan Budd masted "Elvis at Sun" CD. This is just one example of a song sounding so much clearer and alive. Please avoid personal insults when talking about people who try their best for Elvis and his fans.

......I can assure you that all Kevan Budd is working with is Pro-Tools in his home, not a real recording studio, by any stretch of the imagination.

If that's the case, then his excellent results are even more praise-worthy !

More power to his elbow !