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Everything posted by dobyblue

  1. With TDS I can't comment on the vinyl as I never picked it up but if it was done at PallasDE I expect it's nice and quiet and centred properly. I did acquire the high resolution digital cutting files and I found the mastering to be similarly "hot" like the rest of the them, The Fragile is the only one I got a copy of the 3LP to have and I did eventually sell it. It was a gorgeous thing to behold. I was in the throes of extreme NIN fandom when TDS came out in 1994, saw them live that summer for the first time then again that December. I listened to that CD so often in the first few years after release, rage hard! I have found the surround mix is so beautifully done, it's hard to listen to any mere stereo version now. That buzzsaw sound at the end of Closer, careening around the room 270 degrees from the front left speaker disappearing off off to the right wall? Pure genius!
  2. My bad, I only meant to type "poorly mastered", additionally typing "pressed" was finger memory burn-in. The pressing quality itself is actually pretty definitive unlike the job United did with Hesitation Marks, it's only the mastering for me that isn't my cup of tea. Unfortunately where I listen to vinyl is where this type of mastering affects my enjoyment of the music the most, whereas I don't really notice aggressive dynamic range compression in the car so that's where I listen to things like Hesitation Marks, etc. For me the addtional clarity of the remastering is offset by the loudness/compression but it's not like the original CD is any better, lol. It's why I was so looking forward to the surround mix as typically multichannel mixes are not subject to the same aggressive mastering moves as the stereo releases. There is absolutely nothing wrong with the existing 2017 being definitive for you, it's all subjective. Rawk on! \m/ \m/
  3. I already have what will be my definitive edition as I love the 5.1 mix on the DVD-Audio side of the DualDisc version, but remember when we were going to get the definitive "Deluxe Edition" of The Fragile? Let's briefly remind ourselves of the timeline. 2005 - TR mentions The Fragile will likely get the same DE treatment as TDS in a q&a on the old NIN site 2009 - November, Rob Sheridan tweets "Spent the afternoon revising the nine inch nails Fragile Deluxe Edition prototype with A+R. Now it'll be a month before we get the next one." (Artists in Residence did a bunch of the Ghosts issues, they kind of suck for quality control though, all the 5.1 mixes of The Pixes they did were stereo upmixes and the Death Cab for Cutie "Barsuk Years" set had multiple labelling issues, so probably good thing AinR didn't get to do The Fragile) 2010 - on October 15th 2010 Alan Moulder announces in a Q&A session on Pro Sound Web that he's working on a 5.1 mix of The Fragile 2011 - November, TR confirms the 5.1 mixes are "done" and the package will be "available soon". 2014 - TR mentions in a NZ interview " You know, we've mixed everything in surround, it sounds amazing, we have a great package ready to go. " F'n sucks to know Alan Moulders 5.1 mix is now 7 years in the can and still not released, and the existing "definitive" vinyl release is poorly mastered. Of course we also have the Blu-ray of the Tension 2013 tour announced in early 2014 for a "Spring 2014" release, changed a little later (2015 maybe) to be a multi-show live release featuring some of the 2014 stops and possibly four different shows....it's 2019 and that's nowhere to be seen. Believe me I know I'm not entitled to anything, but I'm champing at the bit for both of these currently in stasis releases.
  4. Go to Acoustic Sounds' Facebook page, they have 25 copies they are going to give away to 25 winners they choose from the comments based sharing your favorite personal Hendrix memory - fave song, concert, album, whatever. You don't have to have been alive when Hendrix was obviously, to have a fave track or album. Worth a shot!
  5. Sadly the "all attention is paid to sound quality" is only true of releases like the ones from intervention Records, Analog Spark, ORG Music, MFSL and Analogue Productions...most of the time the major labels are releasing the exact same sonic shyte as the digital downloads. I have a few titles from Shane's team at Intervention and they're all AMAZING. From pressing quality to mastering to jacket, just unbelievably great. What a shame this isn't the standard.
  6. That's a shame they're not using the Sean Magee AAA cut, I expect they'd have mentioned it being "cut from tape" if it was AAA. The Analog Spark release is absolutely definitive in my book - but look forward to hearing if someone with both does a comparison. Shame Universal aren't doing a 5.1 Blu-ray with the super deluxe digital physical editions, they're pretty much the best major label for chucking in new surround mixes.
  7. A couple of ALL ANALOG CUT / RTI-pressed goodies from Intervention Records being cleared out at crazy good prices for vinyl done properly via Intervention Records' Amazon store - https://www.amazon.com/s?marketplaceID=ATVPDKIKX0DER&me=A3VMAZGPOWPF00&merchant=A3VMAZGPOWPF00 I picked up: 1) Murray Head - Nigel Lived - says 33rpm in the format but this is the new 45rpm 2LP cut - Intervention Records Premium Reissue Features: 100% Analog Mastering FROM THE ORIGINAL MASTER TAPES! Mastered by Kevin Gray At Cohearent Audio Double 45 RPM Vinyl for EXTREME SOUND QUALITY Dead Quiet 180-Gram Vinyl Pressed At RTI Exquisitely Restored Gatefold Printed By Stoughton. 2) Big Audio Dynamite - This is BAD - Intervention Records Premium Reissue Features: • 100% Analog Mastering From Real Analog Tapes! • Mastered by Ryan K. Smith at Sterling Sound • Dead Quiet 180-Gram Vinyl Pressed At RTI • Exquisitely Restored Cover Art Printed By Stoughton. Visionary debut album from Big Audio Dynamite, led by The Clash's Mick Jones! 3) Erasure - Wonderland - Intervention Records Premium Reissue Features 100% Analog Mastering From Real Analog Tapes! Mastered by Kevin Gray At Cohearent Audio Dead Quiet 180-Gram Vinyl Pressed At RTI Exquisitely Restored Cover Art Printed By Stoughton. 30th Anniversary Edition! Synth-Pop Classic Featuring Smash Hits "Oh L'Amour," "Who Needs Love Like That," "My Heart ... So Blue"
  8. I sort of agree with the opening line in that you can use "SS" (Still Sealed) instead of Mint for a record that's still sealed, because then you can't verify the surface condition of the record or play-grade it. Without a "SS" grading you'd have to list most records from United Record Pressing in Nashville as "PLONF-POF-SCOPTM" (Possibly Loads of Non-fill, Possibly Off-centred, slim chance of playing to mint) lol
  9. Amazingly, there just appeared a new 24/96 remaster of The Devil Put Dinosaurs Here and it has slightly more dynamics than the original CD of Dirt did! What a surprise, and shows that the compression is all the work of Ted Jensen as the producer (Nick Raskulinecz) didn't bake the shitty dynamics into the mix files. Here's "Stone" original mastering on top, new remaster on bottom...and yes, to the ears it SOUNDS fantastic as well, as you'd hope.
  10. I only list records as MINT if they're sealed, because MINT means brand new. If it's a UK record that didn't come sealed as is the case sometimes, I list as NM and use the description to note that it has never been played but was never sealed. Always best to grade conservatively OR as close to Goldmine as you can. I would have no hesitation to return the item if it was listed as MINT but has a large scratch on one side, that is NOT mint.
  11. Well ti msi m mons my pedigree chum, those two words have very different meanings. Perhaps you should consider using the ignore function, I certainly would if I found someone insufferable; annoying I can handle.
  12. Adam's newest Instagram post shows they're recording and mixing to analogue tape. \m/ \m/
  13. Agreed! Tracks like Routine and Home Invasion, terrific drumming. I love the HCE album, even the more atmospheric stuff like Perfect Life sounds bloody terrific in surround.
  14. Other than 10,000 days, the masterings of all the Tool albums on CD have been excellent and have avoided The Loudness Wars, and even 10,000 days is still nowhere near the dynamic range compression levels we see on NIN and Red Hot Chili Pepper records...they've done a really good job with mastering. Hopefully that won't change on the new album. However for those that don't have $400 to plonk down on AEnima on vinyl, the idea of getting one pressed at one of the top houses mastered by someone like Grundman, Bellman, RK Smith, Gray, etc., cut directly from the original analogue master, it's hard not to get excited. If they're done properly and they do a box set, day one preorder for me. I went through two US copies (2006, using the same lacquers as the 1999 release) of Undertow and they both stunk compared to the CD. I listened to the shit out of this album when it was released, as an angry 19 year old sometimes with a brain full of acid, it is a deeply personal album for me...would love a copy on my turntable that does it (the album) justice.
  15. The label wasn't going to do anything, Steven mentioned as much in a Q&A on Quadraphonic Quad a few years ago: Dec.14.2014 - Hello folks Firstly, I'm very glad you enjoy these records. In Absentia especially remains an album of which I'm very proud. Unfortunately as the sound recordings are owned by Warners, and they seem neither interesting in revamping them, or allowing anyone else to license them to do the job, at present any kind of reissue of these 2 albums seems rather remote. S http://www.quadraphonicquad.com/forums/showthread.php?18341-Will-In-Absentia-or-Deadwing-be-Reissued Now that Kscope has the rights to these albums Steven has been able to remaster them for vinyl without the ugly loudness wars mastering found on the existing stereo masterings. No doubt they're going to sound fantastic. Suck it Warners!
  16. Confirmed that AEnima was recorded and mixed entirely analogue (mixed to 1/2" tape) whereas Lateralus multis were transferred to ProTools and then mixed to 1/2" tape. So the possibility for a new AAA release of AEnima is certainly there. In order to do Lateralus AAA they'd need to remix the album, I don't see that happening - but if they cut it directly from the unmastered 1/2" stereo mix then we could still get a bloody brilliant fully dynamic release of Lateralus as well. Fingers crossed that magic will occur.
  17. They also did a 2LP 45rpm release in 1987. The original vinyl is cut at a very low volume due to the running times per side and as a result has a high noise floor. This is just science.
  18. We need a remix, not a remaster. The lack of bass is in the stereo mix, so no amount of mastering is going to fix it. The album desperately needs a new mix and release it alongside the original mix so that no-one can say revisionism is bad as they wouldn't be trying to replace it. Hopefully the original multitracks are in good shape. Heck if they managed to find the original PRE-bounce tapes for Sgt Peppers 50 years later to create new stereo and 5.1 mixes, there's hope for AJFA.
  19. I think you're correct, I'm pretty sure Ron and Sylvia mixed Undertow on a Neve 8038 console. Even 10,000 Days appears to have been kept all analogue right until the final mastering stage when Bob Ludwig used a Pyramix DAW which in 2005/2006 would have been capable of DXD. Final master was 24/96, but does the stereo master mix (ie - before the mastering) exist on tape? According to mixonline's interview with Barresi and Ludwig the multitrack format was analogue tape but also dumped to ProTools "to preserve it". It also states the album was mixed by Barresi on an SSL G+ console which is an analogue mixing console. So was the ProTools dump just for archival purposes and the mix was all analogue right up to the mastering stage? I do like what Bob said about it: "If any record deserves to be heard in surround sound, it's this one. There's so much tone painting and so much color. It would just be a thrill to hear it in surround sound. And with 96k, 24-bit masters, we're ready for any kind of high-resolution digital projects.” I'll see if Mr. L can shed some light on the final process, he's usually very responsive to courteous e-mails. Have also asked Adam for some insight on the earlier albums. It does sounds like Opiate, Undertow and AEnima were all mixed on Neve consoles.
  20. I'm cautiously optimistic about the Tool reissues. From the sounds of things they aren't well underway, and Adam Jones has been taking thoughts from lots of people at SHTV including myself and seems to be really noting the information/recommendations. Lots of recommendations for 5.1 which would be aces, but he's a vinyl fan and he's heard a lot of feedback on how to do vinyl properly so hopefully they'll be involved and ensure the remasters are treated with care and not just "180g audiophile whoo hooo yay" marketing BS. He has liked a lot of the posts supplying insightful information...I recommended using a mastering house that can cut and master in an all analogue chain and suggested: i) Bernie Grundman Mastering (either Bernie or Chris Bellman would be fine) ii) AcousTech / Cohearent Audio (Kevin Gray or Steve Hoffman with Kevin Gray) and iii) Sterling Sound (Ryan K. Smith who took over from George Marino and now masters in George's old room, Ryan was his protege) I would easily buy both AAA 2LP vinyl release for stereo and Blu-ray for 5.1 of any of the Tool albums...cost is no barrier when it comes to these works of art.
  21. Ludwig doesn't cut vinyl and hasn't in ages, he masters and then his digital files will be send to someone to cut lacquers.