Mike Logsdon wrote:

>Karl Miller wrote:
>
>>It reminds me of when I work on a restoration project. I can spend 30
>>hours or so trying to look through that keyhole to the past and capture
>>all that I can, a recording that might be 20 minutes long.
>
>Indeed.  I'm a restorationist of live, amateur-recorded, 1950s-60s
>traditional jazz tapes, and after hours of trial and error, to finally
>find that perfect medium between acceptable and not, why, it requires a
>signal shot of something significant (most trad-jassers require single
>malt, but I'm perfectly okay with mid-range Kentucky sourmash)!, Etc,

And then, two days later, you can come back to the same product you
completed and decide you could have done better.

Along the same lines, I just had an email from Mark Obert Thorn.  He
saw a posting where I mentioned I had my audio preservation class do
some listening comparing his work and Ward Marston's.  Mark wondered
"who won." They both did, however you could tell the difference in their
approaches.  To my ears Mark's transfers sound brighter and Ward's, more
mellow.  I made the comparison between the orchestration styles of Berlioz
(where each instrument is more easily indentified) versus Wagner where
they blend for a richer sound quality.

Wonder if any of you have made such comparisons.

Karl