About this episode
It's time for our fourth annual check-in with masterful mastering engineer Kevin Gray as he comes off yet another crazy-busy year. What new did he and Doors engineer/producer Bruce Botnick think they could bring to the instant-sellout Rhino High Fidelity box The Doors 1967-1971? Which Rhino High Fidelity album doesn’t make sense to him as an audiophile release? Among Rhino, Blue Note and Craft’s Original Jazz Classics, which label works far in advance, and which one keeps him rushing? Is he still learning anything after all these years? How does he plan to balance his mastering work with his own Cohearent Records label— and what key role did his granddaughter play in the upcoming album from saxophonist Cory Weeds? And which expensive type of release does Gray consider to be “an absolute scam foisted on the buying public”?
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