Brasilian vs. Japanese remasters of Mendes

[JMK]

Well, having now gotten my first two shipments which include the two Brasilian RCA releases of the Elektra discs and the Japanese releases of the A&M-ers, I must say I am much more impressed with the sound quality of the Brasilian releases. Whether this is due to the relative age of the masters, the actual condition of the masters, or the remastering process I don't know, but I was actually a bit disappointed in the Japanese releases, especially the bonus tracks, which do sound like old cassette or vinyl versions. In fact, on a couple of occasions (I'll have to go back and listen), it sounded to me like whole songs were taken from vinyl on the Japanese releases--there were the telltale pops and cracks (very few, but noticeable) on a tune or two, especially on Live at Expo '70. Still and all, it's been a great couple of days reliving my childhood Mendes memories.

 

[TulitaPepsi]

Interesting news, Jeff! I haven't recieved mine yet. I'm particularly anxious to hear the Brazilian Electra CDs, particularly 'Brasil 88'. This was the most lushly orchestrated of all the post-A&M Sergios. The cover lines noted that it was mixed with the "Aphex Aural Exciter System" (whatever that was..perhaps someone can explain it).

Are there any bonus cuts on these?

 

[JMK]

No bonus cuts, but if I am translating my Portuguese correctly, the liner notes on Brasil '88 (which also thank Harry-way to go!) state it was produced for $200,000 which was quite a bit back then.

 

[TulitaPepsi]

That's a small fortune in 1978!
Maybe that's why MAGIC LADY sounds like it was recorded in a tin can...

 

[Rudy]

The cover lines noted that it was mixed with the "Aphex Aural Exciter System" (whatever that was..perhaps someone can explain it).

Egads...it's hard to describe it, but I've read that it is something like a dynamic range expander for the high end of the spectrum, adding more "punch". It's arguable as to whether it actually helps (I'd have to hear a before-and-after comparison). It also generates additional upper harmonics. (The closest analogy I can think of is a processor that dbx used to make, a sub-harmonic bass synthesizer that would, say, take a 120Hz signal and synthesize a 60Hz signal and mix it in, to give the bottom more strength. The Aural Exciter, however, would operate on the high end.)

Here's a current model:

http://www.aphex.com/products/104.htm

-= N =-

 

[Harry]

No bonus cuts, but if I am translating my Portuguese correctly, the liner notes on Brasil '88 (which also thank Harry-way to go!) state it was produced for $200,000 which was quite a bit back then.

Through conversations with BJ Major, Arnie, the reissue producer apparently couldn't come up with the original liner notes to the album. I helped out and got a "Thank You" in the CD's liner notes -- quite an honor!

Harry
...with one more "Magic Kingdom Day" to go, online...

 

[Mike Blakesley]

Yeah Harry....you beat me to the punch on that thank-you by 20 minutes! I emailed the same liners to BJ. (Must be my typing speed, eh?) But the fact that ANY of us on the Corner has made it into print on a release is very cool indeed.

My own claim to fame is talking on the phone with Mike Ragogna, a honcho at Universal who has his name all over Herb's DEF HITS (and who assured me that a box-set is coming some day).

 

[Brasil_Nut]

Neil Wrote:

Egads...it's hard to describe it, but I've read that it is something like a dynamic range expander for the high end of the spectrum, adding more "punch".

Amazing to note that it did, indeed, add a great deal of "punch" to the Brasil '88 Lp. Sandwiched between New Brasil '77 and Magic Lady, Brasil '88 blows them out of the water--almost as if you're in the studio--incredible dynamics.

Then again, Sergio has always worked with cutting edge recording methods. Some would yield amazing results (such as Brasil '88), others would hiss and muffle (as in Fool On The Hill's "stereo/mono" system). That's one of the things I love about him. Not only does his music change and evolve, he has an ear for recording technology. Some artists stick with what they know, what they're comfortable with. Not Serg, he moves with the times.

Brasil Nut