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Recorded at The Doors Workshop, Los Angeles, California. 1970-71
Płyta kompaktowa SACD wydana przez ANALOGUE PRODUCTIONS (Warner Bros.). Przygotowana z oryginalnego analogowego źródła. Dźwięk absolutnie doskonały, także edytorsko mistrzostwo świata.
L.A. Woman – szósty album studyjny amerykańskiego zespołu The Doors, wydany 19 kwietnia 1971 roku przez wytwórnię Elektra. Jest to ostatni album grupy nagrany z wokalistą i frontmanem Jimem Morrisonem, który zmarł w lipcu tego samego roku.
W 2003 album został sklasyfikowany na 362. miejscu listy 500 albumów wszech czasów magazynu Rolling Stone.
NOTE: The Doors was a 4-track recording. As such, the surround portion of this multichannel mix is intended to be room ambiance
Mastered by Doug Sax and overseen by Bruce Botnick, The Doors producer/engineer.
Hybrid Multichannel SACD
Part of The Doors reissue series proudly presented by Analogue Productions!
High Resolution DSD
Multi-Channel SACD
Płyta kompaktowa-orginalna.
Stan płyty: NOWA i FABRYCZNIE ZAFOLIOWANA .
Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer.
The surround sound program on the Doors SACDs comes from the original 96K, 24-bit files mixed and mastered by Bruce Botnick for the DVD Audio Doors/Perception release. Those mixes were made from the original one-inch, eight track, 15 i.p.s. analog master tapes. For the SACDs, the mixes were then up-sampled without filters to DSD using the Weiss Saracon format converter and authored by Gus Skinas at the Super Audio Center.
The title track from this, the last Doors album recorded with Jim Morrison, who died shortly after it was released, has, said one reviewer, “maybe the best Chuck Berry riffs since the Stones.” And that’s not even mentioning “Love Her Madly,” which became one of the highest charting hits for The Doors.
“Love Her Madly,” was written by Doors guitarist Robbie Krieger, who is said to have penned the song about the numerous times his girlfriend threatened to leave him. The song peaked at No. 11 on the Billboard Hot 100 singles chart and reached No. 3 in Canada.
L.A. Woman was still high on the charts when, like in the lyric “actor out on loan” of its closing track — the celebrated “Riders on the Storm,” Jim Morrison died in a Paris bathtub in the summer of 1971.
Via such tracks as “The Changeling,” “Crawling King Snake,” and the frothy, rollicking title track, the collection leaned heavily toward the Blues — in particular, Morrison’s boastful “Lizard King” brand of it. All-in-all, Rolling Stone proclaimed L.A. Woman, “The Doors’ greatest album, including their first,” and “A landmark worthy of dancing in the streets.”
Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles — The Doors, Strange Days,Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All six are also available on Hybrid Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.
This is no time to wallow in the mire. The Doors are on Analogue Productions!
Originally released in 1971
Ray Manzarek, keyboards
Jim Morrison, vocals
John Densmore, drums
Robby Krieger, guitar
Technical notes about the recording process by Doors producer/engineer Bruce Botnick:"Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate.
"If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue 8-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, 3-track. On EKS-74007, The Doors, we used 4-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room.
"When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters."
- Bruce Botnick, July 2012
