He developed methods for transferring recordings to digital media, reducing or eliminating surface noise and creating a stereo version.
He used digital equipment to transfer and enhance recordings and used a comb filter system to create two sound channels and a perception of differing instrument placements.
[2] Zan Stewart in the Los Angeles Times described the soundstage as "a very successful mono re-creation closely resembling actual stereo sound.
To these ears, Mr. Parker has done particularly well with material from the acoustic period, such as King Oliver's Creole Jazz Band, and is least successful with the human voice.
"[7] However, according to The New Grove Dictionary of Jazz/Grove Music Online, "at the time of their first appearance ... a critical storm arose about their faithfulness to the original performances in comparison with the best monaural analogue transfers of the 1960s; Parker’s addition of echo effects and attempts to simulate stereophonic sound were particularly censured.