Remastering is the practice of manipulating older recordings to make them sound optimal using modern playback systems and evolved through the introduction of the digital CD as a replacement for the analogue vinyl record format (Nardi, 2014; Shelvock, 2012). When we consider the original musical artefact may be associated with a sense of cultural heritage or authenticity, the amount and type of manipulation undertaken to create the digital replica becomes of crucial importance, particularly if the aim is to maintain the context, meaning and significance of the original work (Bennett, 2009; Moore, 2002). In my study on remastering and collaboration, I apply the remastering practice and procedure used on the 2014 remaster of iconic Australian band Sunnyboys’ eponymous vinyl release in 1981 to a collection of analogue studio demo recordings from my previous bands Jumble Sale and Ben’s Calf.
Although my recordings are ‘lo-fi’ as compared to the record company financed professional recordings by Sunnyboys, there are similarities including being recorded mainly live, having few overdubs, completed on a tight budget, featuring predominantly analogue equipment, mixed to analogue tape and from a similar time period (Morey, 2009). In the role of researcher as artist/producer, I examine remastering practice in real time and the decision- making process undertaken between remastering engineer and myself. From there, I develop a personal, reflective account of remastering practice including the phenomenon of social and cultural interaction as a group of mature men deciphering and seeking improvement on past musical creations and recordings produced as adolescent males. Furthermore, I investigate the artistic choices underpinning the perception of authenticity and meaning of the original work in its digital replication, given the modern digital tools available for adjustment and manipulation.
