The least surprising thing about the 2017 release of the Giles Martin remixed version of Sgt. Pepper's Lonely Hearts Club Band is that its sonics – indeed, its very existence – was heavily and passionately debated. Audio engineers who work on historic recordings know they have to be tuned into that sweet spot, where presumed aesthetics need to shine through and residual noise is tempered enough to slip into the background, or slide away entirely. Even then, there are always fans who will prefer the original, fans who will clamor for the new release, and fans who won't hear the difference. The reissue market is massive, and so is the number of recordings in need of preservation, restoration, and remastering. Aging rock stars are repackaging their catalogs. Labels like Numero Group, Light In the Attic Records, Anthology Recordings, Captured Tracks, Awesome Tapes From Africa, Omnivore Recordings, and many more are digging up lost or forgotten recordings, demos, B-sides, and long neglected catalogs. Mastering reissues is a specialty with its own set of considerations, technological tools, and audience expectations. In the broader world of record making, we all have the same goal: to make it sound great. But how do we do that when our sources are damaged tapes, well-worn LPs, or even cassettes that have been buried underground for years? I asked three other mastering engineers who have restored and remastered many reissues, in addition to mastering plenty of new recordings:

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