Welcoem to posts!!
in the future - u will be able to do some more stuff here,,,!! like pat catgirl- i mean um yeah... for now u can only see others's posts :c
The latest revitalization video of The Beatles is a redo deep cut from the UK sourced version of 1965's Help! album, "Another Girl". I had performed the initial 1st Pass rework a few months back and afterwards was not satisfied with the results and immediately flagged it as needing a 2nd Pass for additional improvements. And so before starting the 2nd Pass, I painstakingly went through a pre-rework checklist to make sure everything was in order and conditioned properly including replacing a key interconnect cable pair that had been earmarked earlier as a potential 'point of weakness' in the studio's primary Reference Transfer Station. In addition, I took an extra measure in preparing the source material(s) to make sure they were the best they could be by having the discs professionally cleaned. The results are quite remarkable, I believe, and so much so that I am marking it down as representing another milestone reached here at the studio with how we do things and the results achieved.
Here is my initial reaction to what I observed when listening for the first time after the 2nd Pass rework was complete:
"Slightly greater depth/extension, definition, texture, extension, realism, impact, musicality, natural organic qualities and personality overall that translates to better warmth & presentation in terms of imagery, balance and cohesion. In short, richer in content that feels more natural in its delivery to the human ear."
I've also put together a couple of extensive Side-by-Side's at the end of the video that help illustrate the evolution in sound remarkably well between the current digital version made available to us from Universal for purchase and download and the true original stereo master sound that existed when it first was released almost sixty years ago! You will want to make sure and listen intently to the Side-by-Sides with your best headphones to experience your initial reaction with maximum impact. Enjoy!
Update: 8-3-24
It appears this one will have to wait for approval from Universal-Calderstone so it is currently on hold and unavailable for viewing. The decision whether to release it or not will be forthcoming and within the next 30 days. Thank you for your patience.
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Bullitt (1968) Filming Locations | Then & Now
https://www.youtube.com/watch?v=MDAYM...
Bullitt Documentary (1970) - "'Bullitt' Steve McQueen's Commitment to Reality"
https://www.youtube.com/watch?v=jLDI-...
And finally, Buckle Up.....
Has nothing to do with vinyl but it does have a great audio soundtrack, as well as, it highlights a high quality digital transfer uploaded and done right by a fellow YouTuber from the professionally restored original DVD.
Hang on for a wild ride through the 'Streets of San Francisco" and then some. And yes, it still remains the greatest Hollywood car chase scene of all time.
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Higher and higher.........
For all the high fidelity fans out there who follow this channel @TheVinylRestorationProject , most of us are well aware of YouTube's post processing that takes place after a video gets uploaded to its backend which, in the end, diminishes the sound quality ever so slightly. Or is it 'ever so slightly'?
Well for starters, everything is relative. And so even though, I cannot avoid this processing that diminishes my audio projects sound after I upload a video, I can control how it gets uploaded in terms of what format I place the file to ensure that you get to hear the absolute best quality of what I do, after YT gets a hold of it. How is that done, you ask?
I use a multiplexer utility which allows you to basically concatenate two files in their original high rez formats together into one for playback. Pretty cool, huh? And so in the end, what that means is that it allows for a quicker upload and less post-processing that YT has to do on their backend to prepare it for playback which does result in a better audio quality result for playback than if you were to upload it without the multiplexer utility.
So with that said, however, you are still getting a sound degraded version after YouTube , a 'shaves off' some of the high fidelity detail from the studio's high fidelity engineered audio projects that I engage in, as you will note after you compare YT's video audio soundtrack to the shared link version I am providing for a limited time, which is the 'unprocessed' version or the version exactly as I get to hear it!
And so I won't be able to leave the shared link up for long but I wanted those that follow this channel intently a chance to finally be able to hear what I hear as close as possible so you too can 'Hear the Difference'. Enjoy!
Here is the link to the 'unprocessed version', just as I'm able to hear it:
drive.google.com/file/d/1LHD0yxQLX74ZS-jlS4wewn0sa…
(No longer accessible as of May 21, 2024. If you want to listen to it, please email me.)
First, listen to the below YT uploaded 'processed' version and then click on the 'unprocessed version' to enjoy the comparison. I think you'll be amazed at the extra finer details you can hear with the 'unprocessed version'.
The good news is that the 'unprocessed' version would be more comparable to what you could hear if it were prepared by an analog mastering engineer and then re-cut to new vinyl, for example, for release on a re-issue label and made available for purchase. That would get a very good 1:1 translation of what we do here, audio fidelity-wise, to allow it to be heard 'unprocessed' by the end user as a final product and consumed in an analog format. Or, another example, is it could also be made available in audio cassette form as that analog medium is also now coming back strong. And so what you would have is an Analog (Sourced)-Digital(Processed)-Analog(final format)(ADA) produced and repackaged version, properly prepared by an analog mastering engineer of our audio that we produce here so that, again, you would be able to hear the same high fidelity you are hearing with this 'unprocessed' version provided in the link, only now it would be made available to you, just as the vinyl version, for purchase as a mainstream product in the mainstream legacy audio market.
Finally, the re-issue labels could also have the audio we produce here as you are hearing it now prepared by analog mastering engineers to be made available for purchase as a mainstream digital download for purchase that is essentially CD quality(44kHz, 16bit) and which would still sound better than these 'processed versions' you get streamed on the backend of so many of our social media platforms.
In the end, I think you can see why every 'bit' (pun intended) matters when we are talking about how to properly prepare these legacy recording treasures for consumption to get the best possible high fidelity audio quality in the end for the end user. And we have ways to ensure that this essential high fidelity audio gets properly translated digitally and then produced in the various analog and/or digital end user formats for consumption, depending on your preference, as just explained. And that is very good news for the end user/music consumer of mainstream legacy digital music and the legacy audio music industry as a whole.
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About a month after the VRP channel was launched in September of 2014, I began working on archiving the only original U.S. copy of the Beatles Capitol series of albums from the Dave Dexter U.S. versions, released from 1964 that I currently have, "The Beatles Second Album", at 96kHz 24bit hardware. Having not yet acquired the Parlophone label, UK albums, that work would soon follow a few months down the road. But I wrote this back then:
"To complete my initial 'Beatles on Vinyl' project before moving on, I purchased an original copy of the Beatles second album release in the U.S. aptly titled, “The Beatles' Second Album” released on the Capitol label in 1964.
While the US versions of the Beatles music remixed by the Capitol engineers don’t do it for me as a whole, I found two or three on this album that seemed to have the right mix overall to suit my taste and the transfers were just good enough too. I am sure I will find a better copy of this album down the road but for now, they will do. " October, 2014
Fast forward from October, 2014 to September of 2015, and then you have this video footage I put together and posted on the VRP channel back then marking the triumph of my very next Beatles album and the very first Beatles UK acquisition of one of their landmark albums- a1969 UK One Box EMI sixth edition of.....well...you'll just have to watch the short video to find out which Beatles album. And little did I know then, just how good the sonics were on this particular pressing.
But I remember doing quite a bit of research on it to try and locate the most stellar pressing I could find and of course, you never know until you actually get it and 'drop a needle'. But it helped that the seller had uploaded some audio samples for a listen and so it gave me a good ballpark idea of the condition it was in. And of course, as I've already eluded to, all that hard work paid off. In fact, to date, hands down, it is the strongest Beatles UK pressing I currently own with a distant second going to the original UK yellow Parlophone label, "A Hard Day's Night" and then everything else falling under those two.
And so the biggest takeaway that I remember after initially listening to it was just how pronounced and exceptionally 'clear and present' (the immediacy of the sound) the sound was. It really reached out and grabbed you. It is so good, in fact, that I've yet to do any further processing on any of them except "Norwegian Wood" which probably more than anything is a symptom of the mix itself that led to that, and not the stellar post-production work done for all those 1969 re-issues. And it is the only album that was a 'one and done' in terms of archiving. I've not felt any need to go back(expect for Norwegian Wood) and drop a needle on it since. That's how good it is.
Ah yes, let's talk a bit about the actual painstaking work of cutting the master disc back then and how spot-on the Brit's post-production work was in '69 where they literally had it down 'to a science' because it all comes down 'to the science' that determines how good it will be. But yeah, how important is that part of the process actually is and I'm so glad they 'had it down to a science'.
Further, I think it could probably be said that any of the one box EMI cuts that were produced in '69 of the Beatles re-issue catalogue up to that point was probably stellar work in large part because it was the same crew doing the job at the time.? Don't know this but logically speaking, it would make sense. And so listening to that copy of "Rubber Soul" always reminds me of literally the 'make or break' outcome you will get as far as whether you get a 'profound sound experience' as the end result as long as the cutting was done to perfection. It truly starts with that and it has to be right or else.
Also, no doubt another reason for these stellar pressings in 'glorious and golden', 'analog profound sound' is that the Brit's were also dealing with what was probably some of the tightest thresholds imaginable to work with when doing the actual cutting and there was also the intangibles left totally up to the cutting engineers of their deftness at what they do, their 'sound vision' and knowledge and experience they carry with them at the time that you can't put a price on and that all go into what comes out on the other end. But they did it with such care to make sure it came out right. And so, "Man!", did they ever 'get it right'.
My hats off to them and we owe them such a debt of gratitude. I think a huge part of how everything worked to stay within these very tight thresholds they had to adhere to was that at EMI Studios, they had a process in place that had all their new audio engineers always get trained on the mastering side of the process first. And one of the huge benefits of doing it that way was that it allowed them to thoroughly understand 'the process' in full.
And so the post-production preparations required to have the sound be where it needed to be in order to really shine on a grooved disc, for example, really began in earnest for them at EMI/Abbey Road during the recording stage of the process. It had to. And so the fact that all were so well versed in that aspect alone, makes a huge difference on what came out on the other end, so to speak. But how important just that was in the scheme of things, you can't put a price on.
And finally, to continue down the post-processing chain of production back then, not only were the cuts just that good, but we can't say enough about what happened once it went to press with clearly(pun intended), some of the best virgin vinyl used to press the re-issues from '69!
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Probably one of their greatest vocal harmony compositions with John and Paul sharing vocal harmonizing duty, John on lead and Paul's very close harmony to the melody also being very prominent. In fact, so much so, it is very easy to sing melody along with John or sing along with Paul's equally 'vocal' harmonizing part when he chimes in. Just a beautifully composed song with wonderful chord changes from major to minor and back to major and with a very effective doubling of acoustic guitar strumming in rhythmic fashion on left and right channels and the acoustic backing of constant strumming of guitar with bass and drums filling out the rest of the rhythm track nicely.
As far as, audio restoration, you will note that I added a note in the beginning that says 'no audio restoration treatments were applied'. Not because they were not needed. Oh heavens no. They are in fact, badly needed on this cut, unfortunately and as you will hear, with many, very audible audio distortions throughout. It will require much time, which I do not have right now to pursue. But one day I will and it will take a very deliberate, deep and surgical, intrusive series of treatments to rid much of the distortion without harming the harmonics. But it can be done and what I wanted everyone to hear now, however, is just how beautiful the cut actually is if you can get past the distortions. And there is certainly plenty there to make it worth performing a full audio restoration to restore it to full health. But the sound is just phenomenal past those distortions. Remove those and you've got something here. And so, I will.....one day.
Finally, do yourself a favor and once this does go public on Thursday(February 22) morning, when you get a chance, Google the 2009 stereo mix remaster from master tape of The Beatles "I'll Be Back" and then compare that sound to this master cut-to-disc sound and then I want you to listen for the differences. And you'll probably have to turn up the volume a bit more on the 2009 version to match it to our volume level we do here.
But how dramatically different they both are and yet both hold water very well. To my ears, the master cut-to-disc version has better balance and cohesive stereo separation and is also a little more vibrant and lush acoustically speaking with probably a tad bit better depth and impact overall. You'll definitely get a bit more textured guitar strumming, for example, with the master cut-to-disc version. But so much of what we think is better sound coming off of the master tape or master cut-to-disc, whichever the case may be, and when we are talking about a stereo mix anyway, has to do with how the presentation of that sound is overall which has to do with its overall balance and cohesion throughout the stereo image and the amount of separation itself. And so, many times, it just lends itself naturally to the master cut-to-disc version for what amounts to very controlled environment for those sound qualities our ears seem to appreciate the most. Again, hats off to whoever the cutting engineer was for this as this is the inner most track on side two.
And remember, the video below will become public and available for viewing for a time beginning the morning of this Thursday, February 22nd. Thanks for listening.
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So just how hard is Starr striking the drums here? Well, first of all, say what you will about the Capitol engineer's U.S. versions of the Beatles' recordings but there is certainly nothing muted about Ringo's drum performance at all in this version and so thankfully, we actually get to hear, for example, just how hard he's 'layin' 'em down'. For example, it is interesting about the general 'loudness' of this performance as a whole and for me, I love the energy it brings, definitely when you talk about matching the 'loudness' you heard when they would perform this live back in '64. And so, no doubt, Starr's incredible 'drum-pounding exhibit' here is up to the task needed while equally matching every 'whack of each drum' to McCartney's equally electric(and exhausting) performance on vocals. Wow!
Finally, in long-time Beatles' audio engineer, Geoff Emerick's Beatles book, "Here, There and Everywhere: My Life Recording the Music of the Beatles", he talks about witnessing first hand the results of Starr's incredible devotion to his craft, oft times spending countless hours in the studio and of course, during actual rehearsals, giving it his all, perfecting his craft (in his own unique way) as only he could. After all, Starr had gotten off to a rough start with the band and was actually 'pulled from being the drummer' for his second session with the group after his less than auspicious first session start with them. So, no doubt, part of what became his tireless work ethic was in order to prove to himself he could actually do it (and probably prove most everyone else wrong at the same time).
Not only did he achieve that to become 'that respectable drummer for the band' but, of course as we now know, he far exceeded it to become not only much more than just a respectable drummer for the band but also one of the all-time greatest drummers, period. And so what naturally followed is indeed one of his trademarks which is/was just how hard he could 'pound those drums' during his performances. In fact, it was also noted by Emerick in the book of the numerous times he would witness at the end of a recording session all the wood chips left on the floor around Ringo's drums when he would finally leave the studio, totally and completely physically drained.
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During this era of the Beatles, they were ALL about recording in Mono, no doubt. But there has been much debate on which Beatles sound is better, Mono or True Stereo Mixes. I believe they both are equally good and both very relevant, perhaps more so today than ever. See if you agree.
Thank goodness, however, somebody had another vision (even if, for the most part, it was really an after thought and done in that vein). That's because many of the Beatles' true stereo mixes from back then were also quite good, especially the master disc cut version of them. And so you could take home a UK pressed Beatles' LP of "A Hard Day's Night", for example, 'plop it on the platter' of your big credenza stereo console. You know, the one with three channel stereo and a 15" center channel speaker that packed a wallop as your bass speaker.......(but I digress)....where was I? Oh yeah, ....."plop it on the platter" and really enjoy the sound of the Beatles in true stereo. And so, if you have not already, take a moment and listen to our revitalized version of "A Hard Day's Night" here: https://youtu.be/Nz3uooHuNQM.
But regardless, there is no question that the Beatles' original true stereo mixes, whether they were warmly received or not at the time, have sweetened with time. In fact, I would encourage those of you who may be squarely on the other side of the fence and prefer 'MONO everything' of the Beatles music, if you have not done so recently, to take some time away from your music, let your ears reset and then come back when you are ready and put on your best headphones and listen to some of the Beatles professionally remastered true stereo mixes from their early era. Then, after that, listen to what we have done here with some of the revitalized master disc cut versions (or at least the 1st Pass of same) and I think you would agree that they are certainly more relevant today, if for no other reason, because they do sound good and they too have their place. And not only do they sound good but some border on being 'profound in sound' - really, ahead of their time. And all of that is brought to you courtesy of, for the most part, recent advances in audio digital technology coupled with a very well trained legacy ear. Especially with the ability that affords the situation to properly digitally translate from an alternate source, like the master disc cut version from a special-select legacy pressing, like my studio can do at a professional level. And so I'm so glad that most of the time, they did take the time and care to produce the stereo mixes as well.
Also, I have found after taking this latest dive into their vast music catalogue that really, from just a sound enthusiast's(Mono or True Stereo) perspective, just as you can separate their music into different categories i.e. Early Beatles ('62 - '64-5'ish), Mid-to-Later Beatles ('65 - '67), Late Beatles ('68 - '70), you can also separate their original sound recording mixes, Mono and True Stereo, from the Early Beatles into the type venue it represents best. For instance, if I want to listen to a Beatle's recording that captures more of their 'live concert performance' sound, I definitely will pull out their Mono recordings! For example, when it gets 'approved', take a listen to the revitalized, "Long Tall Sally" (https://youtu.be/RGcHJw6V7tU), from 1964 from Capitol's "The Beatles Second Album". It is not the true Mono master version but close enough. And regardless, it captures, maybe better than the Mono master (maybe not, not sure) a 'bigger, louder' feel that you would want IF your goal was to listen to a recording that would resemble closest 'their live stuff'. And then you might want to listen to the true stereo mixes on your home stereo console for a totally different venue feel. But both have their place, is my point, and both are very relevant.
And so to hear what I'm talking about and for comparison's sake, immediately after listening to "Long Tall Sally", jump over to another 1964 recording of theirs, the 'true stereo mix' (released on the UK Parlophone label) of, "Kansas City" (https://youtu.be/suMaufBpqp4), from their 1964 release, "Beatles for Sale". Both are from the same era of Beatle's music and in addition, both are very similar in respect to type song, vibe, instrumentation and vocal style, etc. But listen to how different the energy is surrounding the mix/cut while listening. You will NOT get that 'live vibe' at all while listening to "Kansas City" even though the same energy you experienced while listening to "Long Tall Sally" was there, I'm sure when they recorded it 'live in the studio', you are not going to perceive it that way when you listen to the true stereo mix. In fact, it is not even remotely close to the listening vibe you get when listening to "Long Tall Sally". However, by most standards, both would qualify as 'good and proper listens' when it comes to sound (even though both have their share of audio distortions throughout and for different reasons). All that to say, no matter where you fall in terms of what sound your prefer, the Beatles' Mono releases( or at least in this case a sound that was generated from the Mono master) or their True Stereo mix releases, both have their place and both are very relevant and both are 'good and proper' listens. It will just depend on what YOU prefer.
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Mind you, our latest stab (1st Pass only) is far from where it needs to be. In fact, the source used is anything but stellar and also, absolutely NO audio restoration was performed on our digitized version but even so, listen to the potential that remains.
And then, it is of the utmost importance to then compare it to UMG's official digitized version that is available to the public for music consumption today. You will notice that our version will sound quite different from the 2007 version. But why? What makes it that way, do you think? Let's break it down a little to help understand why.
First of all, you must pay attention to the warmth of both. Which one sounds warmer to you?
Also, not to be missed is you might notice the difference in the sound's stereo image or presentation as well, something that will oft times naturally occur during the additional processing step of taking a production master tape of a recording and preparing and conditioning it to be placed into a controlled environment such as a record groove during the disc cutting where thresholds are very strict. And so what you end up with many times with legacy recordings is the sound will naturally evolve into something that becomes more balanced (and yes, cohesive) in its stereo presentation. And that translates very well to the human ear for consumption because it ends up feeling more natural to the ear to give you a more engaging listening experience overall. And I think it can be said it has something to do with why we seem to just connect best with the sound of this legacy music from a medium like vinyl and in the way that we seem to want to consume it.
Finally, the additional step of preparing the sound and cutting it to the master disc for pressing to vinyl so many times resulted in those elusive artful expressions imparted into the record groove from the engineers that crafted the sound just for that medium. And so it represents that part of it. And it is those artful expressions that are so critical in helping to make up the aesthetically pleasing qualities of the analog sound overall by the time it gets to our ears from a record groove, NOT from master tape because those qualities just aren't there. In addition, it has been my observation that today's audio digital technology capability has the ability to exploit the differences quite well between what you find on master tape and what you find from a master disc cut.
And so for this particular legacy recording, I think everything aforementioned adds up to to help give the sound an even more palatable sense of lifelike realism that the master tape itself just can't and therefore, does not exude, as you can hear with UMG's digital version. And this phenomena can be said for so many of today's studio digital translations of legacy recordings from that era that have been translated ONLY from their master tape.
But regardless of the sound differences that exists between master tape and master disc cut of so many legacy recordings, the Legacy Audio Industry is in sore need of refreshing their digitized versions of so many legacy recordings currently in their digital supply chain for consumption. And even with no regard to anything else aforementioned, the simple fact remains that the industry is and has been facing the fact that the technology from back then (2007) has been eclipsed two or three fold since they performed any digital translations/conversions of the Little Anthony & the Imperials legacy audio catalog. And the same can be said for so many great legacy recordings.
It can therefore be argued that what you will hear here is probably better than anything you are going to find currently available out there from the studios, even with all it's flaws. Again, I am referring to the fact that number one, we had a less-than-stellar source to work from AND number two, no analog mastering engineer has yet to touch what we have done.
And so the purpose of this post is to draw attention to the differences and for you to listen to them to compare and hear for yourself.
1. UMG's official 2007 version from Capitol Records: youtube.com/watch?v=9aMbA...
2. Our version: click the video below.
Thanks for listening and caring about good sound!
Want to 'Hear!' how far technology has come?" Then why not spend some time on our YouTube Channel, @TheVinylRestorationProject and then be sure and spread the word to tell others.
"Because working from the right pressing matters."
"Feel the impact......hear the audio purity."
"Achieving true high fidelity sound digitally and direct from the 'Right' audio source material."
"Shouldn't all our legacy recordings sound this way in today's digital age?"
#tappedintosound
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Her greater body of legacy work is sorely in need of fresh digital conversions, preferably from original master tapes, and then add to it, a decent master disc cut version should be made available for additional referencing/production use just for good measure.
And so the version you are listening to now is clearly NOT that 'master disc cut version' that mastering studios would use but you get the idea and it does exist for us to produce. It is a matter of the industry implementing steps to help locate the best legacy pressing source material that currently exists and then provide steps to assist with procuring it in order to get it into the hands of studios like this one so that the process can work as it should and so that the best results can be achieved. It really is that simple.
This video, therefore, is merely meant to serve as an illustration as to the potential that lies within, now that our incredible audio technologies are clearly at the point to help make it happen.
So do mastering studios need to use other source material besides the master tape to help serve them during their legacy conversions, if nothing else, as a good source for referencing? Absolutely! And in fact, it could be argued that they SHOULD and for more reasons than just referencing. And so we are working hard to help raise awareness and to partner with them to help serve that part of the need that exists with these legacy recording digital conversions.
Check out our website to find out more info on this exciting new way to help serve the greater legacy audio community with their legacy recording preservation and conversion needs: www.legacyvmp.com/. And be sure to subscribe to this channel to help us raise awareness. Thank you.
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youtube.com/c/thevinylrestorationproject?sub_confi…
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So why should we care about Revitalized Legacy Vinyl Sound?
Because when you have a very special 'brand' of legacy audio passed through a very intentional blend of professional and high fidelity playback gear, only to then have it 'treated' using today's extremely powerful audio processing tools by an 'oddity craftsman' (with a legacy ear) to the point where this analog sound is now forced to reckon with what the digital age is able to do with it, you have the perfect recipe for the making of something beautiful on the receiving end.
And so with those precious legacy vinyl pressings that have it to give, what rises to the top with each listen are those rich embellishments that vinyl (and only vinyl) seems to know best how to communicate to our ears in the most uncanny, yet unassuming and natural way. It is audio that is very 'highly textured and nuanced' and that you can feel. It's also audio with high impact that can carry with it 'quite a wallop' and that is also steeped with those, rich, artful expressions(in sound) that seem to be tailor made just for the vinyl medium and that it just loves to show-off.
Finally, it is maximized-high-fidelity-audio-with-a-polish, that not only focuses heavily on retaining the authenticity that lies within the vinyl master but also without the ear fatigue which can sometimes plague many of our analog legacy recording digital translations from today. And so for those masterful legacy recordings that found their highest form of listening pleasure only through this legacy vinyl medium (and none other), it just manages to 'capture-it-all' with the 'wonders of today's technology' and makes it readily accessible in digital form and perhaps, for many, in a way not yet realized until now.
Hear what you might have been missing on our YouTube Channel @TheVinylRestorationProject . And if you have not already subscribed, please do it today!
Thanks for listening and your support.
#tappedintosound
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It's all about Vinyl. From "that vinyl sound", to showcasing some of the best sound-engineered albums, you will find it here.
The art of achieving the best sound from vinyl takes practice and patience. It is a journey full of musical delight that keeps getting better and likely for most will never end. All vinyl records hold within them the potential to delight and most do. However, some fall short. It is finding the ones that do and then unlocking their sonic secrets that makes up this journey.
My goal for this channel is to hopefully provide a little insight into ‘the journey’ and then to share some of what I have learned with those that have the same passion and/or may be just beginning and want to know more.
Some of the music on this channel will be presented from my personal vinyl music archives and some 'live' as I am on the hunt to finding the best sounding copy. So you will hear the good and the bad. And I appreciate any feedback along the way. Thanks for watching!