Analogue Recording - Mastered by Bernie Grundman & Bob Ludwig
180 Gram Virgin Vinyl
The Absolute Sound Super Disc List
TAS Harry Pearson Super LP List
I’ve played this one repeatedly since it arrived yesterday and as a demonstration of indelibly pure, gimmick-free music making from all involved and record production excellence, it goes right to the top of any list. The double 45rpm 180g MPO pressing (at least my sealed copy) was quiet, flat and flawless. Don’t miss this one! A high performance audio system is not necessary to enjoy I Still Do, but the better your system, the greater will be the sonic and musical pleasures. I feel sorry for people who stream this AAA production and think they’re hearing it. They are getting a shadow reflection. Sound 11/10 Music 10/10 Michael Fremmer Aanalogplanet
Eric Clapton Reunites With Slowhand Producer Glyn Johns on I Still Do: Audiophile 45RPM 2LP Pressing Captured on Two-Inch Analog Tape, Mastered by Bob Ludwig, and Cut by Bernie Grundman
Forty years after they collaborated on Slowhand, Eric Clapton and producer Glyn Johns (who has also produced albums for the Eagles, the Rolling Stones, Led Zeppelin and the Who) reunite on the guitarist’s 23rd studio album. Graced with a smart mixture of originals and covers—including Dylan’s “I Dreamed I Saw St. Augustine"—I Still Do resonates with signature tones, heartfelt vocals, and deep-seated details on this 45RPM analog pressing. Recorded on a 16-track machine on two-inch analog tape, then mixed down to 1/4-inch tape, I Still Do is an instant audiophile favorite. Everything is captured in stellar analog while the two of the industry’s leading engineers—Bob Ludwig and Bernie Grundman—handled the mastering and cutting, respectively. That Warner Bros.' 45RPM 2LP set is priced affordably puts this astonishing release over the top, and then some.
"This was a long and overdue opportunity to work with Glyn Johns again, and also, incidentally, the fortieth anniversary of Slowhand," says Eric Clapton. The album's artwork – a carefully crafted illustration of Clapton – is the work of esteemed artist Sir Peter Blake, whose previous art includes the co-design of The Beatles' Sgt. Pepper's Lonely Hearts Club Band album sleeve as well as the Band Aid single "Do They Know It's Christmas?," Paul Weller's Stanley Road, and The Who's Face Dances. I Still Do features Blake's signature at the bottom right corner of the cover.
“I’ve had the pleasure of working with Glyn on quite a few projects. He has always been one of my idols and he has always been a musician first and then an engineer. Glyn has never been one to foolishly chase after the ‘loudness wars’ as most engineers and A&R people do. If he mixes a song to tape and it sounds exactly as he wishes, why squash the musical transients with needless level? When I hear that Glyn is booked for a session, I know I'm going to hear an artist doing superb performances and engineering that sounds like real people in real environments. Eric's record is just stunning.”
—Bob Ludwig, Gateway Mastering Studios
“I feel fortunate that I was able to work with Glyn Johns on the vinyl disc cutting for Eric Clapton’s album. The mixing that Glyn did was so good that the masters were cut direct from our custom tape electronics to the cutting system with only a few minor adjustments. It doesn’t get any cleaner than that - a really terrific, natural, and realistic sound.”
—Bernie Grundman, Bernie Grundman Mastering
AAA cut by esteemed vinyl mastering specialist Bernie Grundman from the 1/4" analog master tape
Album download included, offer subject to expiration
Exceptional analog sound! I Still Do, music legend Eric Clapton's 23rd studio album, was created using processes and care for the best-sounding vinyl that could be made. The album was recorded on a 16-track machine on 2" tape, then mixed down to 1/4" tape, with loving care applied at every step. Acclaimed mastering engineer Bob Ludwig assembled and edited the stack of reels of master takes onto a compiled A and a B-side reel with the correct gaps between the songs. From these he made 192kHz digital eq files for digital media.
Ludwig shipped the original analog masters to Bernie, who cut lacquers from scratch.
Alabama Woman Blues
Can’t Let You Do It
I Will Be There
Catch the Blues
Little Man, You’ve Had a Busy Day
Stones in My Passway
I Dreamed I Saw St. Augustine
I’ll Be Alright
I’ll Be Seeing You