This was recorded 25 years ago in a couple of days. I guess I had to wait until my ears grew up to hear it just right. No mixer, effects, compression or anything else was used to influence the sound. It is just straight Audio Vérité.

I don’t remember who was singing through the studio walls during those days recording at Different Fur. But I’m grateful to the band rehearsing in Studio A for adding to the live Audio Vérité ambient nature of this album.

I keep having collisions with my past. This one is from 2001 recorded live studio at Different Fur in the Mission on Valencia. I was there recording for a few hours over 2 days by the gracious goodness of Winston Ma, who passed away on May 24, 2016.

https://positive-feedback.com/audio-discourse/higher-end-passing-winston-ma/

Winston had reserved the studio for several days and invited me with Gus's agreement to stop by and record to Sony's early DSD setup in the downtime between their sessions. So I was in the heart of the Mission recording in a legendary studio that opened in 1968 at that same address. All by happy circumstance. Thank you Winston. Thank you Gus. Thank you Happy Circumstance.

These tracks have never been mastered or released. I began working on the SBM export from DSD that I had since Gus recorded it in 2001 late last year and now have a final release ready. So off to the press late but in earnest :)

• DE, January 1, 2026

========= SPECTRAL MATCHING MASTERING ===========

[This entire album was recorded over 2 days in 2001 by Gus Skinas to an early release of Sony's Sonoma DSD Workstation. Gus used the Sony Super Bit Mapped (SBM) export to WAV of the DSD source. I've had those WAV files for 25 years and never mastered or released them before now - July, 2026.

This master uses my new technique I call Spectral Matching Mastering (aka DFUUSM). It uses no commercial 3rd party software, DAW, hardware or other gizmos of any kind. I interact directly with the open source ffmpeg and ffprobe. The goal was to abandon the frequency driven way of mastering PCM which as everyone who suffered ear fatigue knows has undesirable by-products of time smearing which includes pre-ringing echoes of pulses (the echo arrives before the sound, totally confusing your ear-brain every millisecond of every song, especially at CD 16/44.1k resolution). Instead I chased and used the very ambient analog approach to sound waves for listening which is based on the time domain. Everything is located spatially in the right place on reproduction, and every pulse arrives on time with a natural attack, sustain and decay. The way Nature intended.]