Mastering engineer Chris Bellman returns to Caropop with many recent high-profile projects under his belt: the Interscope DSS One Steps of R.E.M.’s Reckoning and Murmur and more; Rhino Reserve titles such as the Cars’ Shake It Up, Warren Zevon’s Excitable Boy and Allen Toussaint’s Southern Nights; Tom Petty’s new Origins 1971-1978 box; Neil Young’s archives series; and the long-awaited reissue of Lindsey Buckingham and Stevie Nicks’ Buckingham Nicks, though Rhino also hired fellow mastering engineer Kevin Gray to do his own version. How does Bellman feel about that overlap and the duplication of so many titles? How is making a One-Step is more labor-intensive than a standard pressing, and what’s his response to Gray’s criticism of the process? How did he approach the Beach Boys Pet Sounds One-Step sourced from a 1970s Artisan master? Did he do additional work on Analogue Productions’ UHQR releases of the Who’s Tommy and Who’s Next, which used the metal parts from his 2005 Classic Records mastering? Do name-on-the-sticker mastering engineers like him get their due?
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