Doug Sax came onto the scene and proved that hardware had clearly surpassed software. I recall Thelma Houstons' I've got the Music in Me. many Like Mark Levinson argued you could get the same results with a 15IPS tape. Dougs' focus on recording had an undeniable, permanent effect on high end recording.
Doug Sax came onto the scene and proved that hardware had clearly surpassed software. I recall Thelma Houstons' I've got the Music in Me. many Like Mark Levinson argued you could get the same results with a 15IPS tape. Dougs' focus on recording had an undeniable, permanent effect on high end recording.
Actually I think that M&K put out an analog sampler made from the back up tapes from their D2D sessions. Though good, the 15 ips tape version paled in comparison to the D2D LP. Personally, I think that a D2D done correctly with SOTA electronics is hard to beat. Just listen to George Cardas'D2D recording of Kip Dobler. Scary and it was made with ss electronics. Imagine if it had been made with tubes. The mind boggles.
I was at a listening session around 1980'ish comparing very early CDs to LPs. Mark Levinson was there, with what IIRC was a 30 ips master on a custom-tweaked (by him) Studer. And, of course we had Sheffield Labs LPs on hand as well. At that time the CDs were not contenders for best sound. I met Doug and Lincoln Mayorga once after the first McBroom album; neither would remember me (a snot-nosed kid then) but it was great meeting two giants.
Doug Sax and SL arguably put the "fi" back into "hi-fi" at a time when (over-)processing reigned supreme.
