Could someone please explain this mastering phase described in Lee's link?
This sounds like a hot mess of complexity -- dissecting frequency bands and then reassembling them? And what about distortions and losses and adulteration from these other devices ("7 different machines: studio compressors, expanders and natural spring reverb units")?
Why was this whole process necessary?
Phase 3: Mastering
Using the safety copies produced in phase 2, each of the original two-track recordings was separated into 8 frequency bands using Hemiolia’s D&A Merlin 96/96 mixer: in other words, 16 tracks in total, 8 on each of the left and right channels. This was recorded using a customized Studer A80 16-track deck onto Recording The Masters’ SM900 2-inch tape.
Each of the frequency bands was then individually mastered, with specific settings according to the needs of each track, using a combination of 7 different machines: studio compressors, expanders and natural spring reverb units – including units by Maselec, Studer, Tube Tech, Orban, Drawmer and AKG.
The goal here was to remove as much hiss and other interfering factors, while preserving the full natural power and timbre of Pavarotti’s voice, as well as the natural sound of his orchestra – “with the full respect for the opera,” says Hemiolia, in true Italian style.
Once each frequency band had been mastered on a standalone basis, then the whole recording was reconstructed – again using the D&R Merlin 96/96 mixer to produce the two final stereo tracks. This new, fully restored production master was recorded onto the ¼-inch Otari MTR15.
