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Płyta kompaktowa SACD wydana przez ANALOGUE PRODUCTIONS (Warner Bros.). Przygotowana z oryginalnego analogowego źródła. Dźwięk absolutnie doskonały, także edytorsko mistrzostwo świata.
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.
Hybrid Multichannel SACD
Part of The Doors reissue series proudly presented by Analogue Productions!
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 8-track, 15 i.p.s. analog master tapes, with the exception of this title, The Doors, which was recorded to 4-track. 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.
Waiting For The Sun, The Doors’ third album and its first chart-topper, delivered the No. 1 signature smash “Hello, I Love You” and the Top 40 hit “The Unknown Soldier.”
Slant Magazine proclaims that Waiting For The Sun contains some of The Doors’ prettiest, most genial lilts: “Love Street,” a fictionalized sketch of the Bohemian street where Morrison lived with his wife, Pamela Courson; the wistful “Summer’s Almost Gone,” which includes the lovely refrain, “Morning found us calmly unaware/Noon burned gold into our hair”; and the placid piano ballad “Yes, The River Knows.” More and more, says Slant, Morrison was starting to emulate one of his idols, Frank Sinatra — “after all, they had an insatiable taste for women and alcohol in common.”
Waiting For The Sun was also some of The Doors’ most combative, political work. "The Unknown Soldier" was a barefaced antiwar attack, a reaction to the Vietnam-era hostilities brewing on the home front. 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 titles 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. A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby! This is no time to wallow in the mire. The Doors are on Analogue Productions! Originally released in 1968. Ray Manzarek, keyboards Jim Morrison, vocals John Densmore, drums Robby Krieger, guitar
Waiting For The Sun was also some of The Doors’ most combative, political work. "The Unknown Soldier" was a barefaced antiwar attack, a reaction to the Vietnam-era hostilities brewing on the home front.
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 titles 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.
A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby!
This is no time to wallow in the mire. The Doors are on Analogue Productions!
Originally released in 1968.
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
