Yo no tengo el conocimiento para responder cuestiones técnicas, con lo cual me planteo este hilo sobre todo para aprender y aportar en lo que pueda o sepa, pero un usuario del foro de Steve Hoffman (Gavinnnnn) ha escrito lo siguiente, que quizás puede ser interesante:
What MoFi did was adjust the
master which involves adjusting the bus or overall sound rather than individual components.
- Mastering includes volume control, EQ, and compression to create a consistent sound experience from song to song.
- Mixing, on the other hand, is the process of taking the original recordings of each individual instrument of the song and arranging them in a cohesive and musical manner by means of panning, volume control, EQ, De-essing, compression, and various effects including (but not limited to) reverb and chorus, echo and delay, etc.
Respecto al proceso que se ha seguido para el SACD, en una web alemana se dice esto:
In contrast to the initial release with a mastering by Bernie Grundman, dynamic compression has been omitted, making the album sound much more detailed and listenable. Dancefloor fans will miss the "slam" of the initial release, but the bass is now contoured. Eddie van Halen's guitar solo for "Billy Jean" is now concise and not just kind of there. The spatial effects in "Thriller" cleverly appear outside the stereo width of the system, and Vincent Price's sepulchral voice is much more somber than previously known. Initially, one has to get used to the fact that the album now no longer "jumps out at" the listener, but captivates him. The level is much lower than on previous versions and it's worth turning up the knob once to enjoy real dynamics.
If you're now wondering how MFSL did it, here's what you need to know: The label's sound engineers went back to the master tapes with the goal of transferring their sound in the best possible way. What we hear is a mastering of the mix under producer Quincy Jones. What we knew before was the work of Bernie Grundman, who had the task of turning the mix into a hit album. The album, which at the time set musical, cultural and social standards, broke racial barriers and shaped generations of great musicians, can boast 34-times platinum. So it's safe to say that Bernie Grundman did an outstanding job. Mobile Fidelity Sound Lab, however, has now released this album the way owners of high-end hi-fi systems have always dreamed of.
Mastering for the hybrid SACD was done by Shawn R. Britton using a DSD256 transfer of the original tapes, played on MFSL's own tape machine with modifications by Tim de Paravicini.
https://www.hifi-zubehoer.shop/en/michael-jackson-thriller-hybrid-sacd-a-38398.htm
Como veis, hablan de las "original tapes". Ahora, en línea con lo que dice JayLennox, si creo haber entendido bien, ¿estamos seguros de que se ha trabajado con las primeras cintas originales¿ ¿O hay otros "masters" disponibles que fueron posteriores a ese master primigenio? Y de esto se derivan a su vez más preguntas, por supuesto....