dobyblue

Yeah I recall the HM vinyl wasn't a huge step up in sound compared to other releases.   
 
I have heard about fans making a dynamic mix of YZ from the multi-tracks.  I looked at public postings...trail went cold. PM me in the right direction?  

He actually did state on ETS that the 24-bit downloads are the masters being used for vinyl.

The only changes they will go through at the cutting house (the pressing house is unlikely doing the lacquers, Hesitation Marks was cut by Chris Bellman and pressed at crappy URP) would be things like making the low end mono, de-essing, things that make the record playable. Their goal is to match the master they're sent as accurately as possible.

Have you downloaded the multitracks for Year Zero? Listening to a recompiled In This Twilight with the same dynamics as the 1989 CD of Pretty Hate Machine cranked up on a good system is pretty awesome. This is what's frustrating about Trent, he has so much cool shit going on like appreciating surround sound (releasing The Social Network score as a 5.1 high resolution Blu-ray, who else does that? Hardly anyone!), dropping unmastered fully dynamic multitracks to two entire albums as well as a bunch of other stuff (Jane's Addiction Chip Away/Whores) - I can't even count on one hand how many times I've heard that happen, instrumentals, fighting like hell for fans to get the best tickets to show with their names on them scalper-free and calling out TM/LN at the same time (shame they deleted the forums where his post was), insanely brilliant live shows, doing two masterings (HM, even if the audiophile one turned out to be a big disappointment), dumping 400GB raw live footage via torrents, but then eviscerates the dynamics of Broken and calls it definitive! Has his hearing gone the way of Rick Rubin's? I don't know, I'm not his audiologist, lol.

In a perfect world they'd have released the DRminusinfinity version of Broken as a 16-bit download and done a nice new fully dynamic remastering for 24/96 version. You don't, and if you do you're doing it wrong, listen to 24/96 while jumping around at the gym, you do listen to 24/96 on your main system designed around maximum playback fidelity.




 

Really like the new Slowdive song, the lead guitar part reminds me of "Love will tear us apart" by Joy Division a little bit.

His vacation should be a trip around the US. He should bring instruments and a band with him. If he wants to set up and play in my town, I wouldn't be mad about it. 

He actually did state on ETS that the 24-bit downloads are the masters being used for vinyl.

The only changes they will go through at the cutting house (the pressing house is unlikely doing the lacquers, Hesitation Marks was cut by Chris Bellman and pressed at crappy URP) would be things like making the low end mono, de-essing, things that make the record playable. Their goal is to match the master they're sent as accurately as possible.

Have you downloaded the multitracks for Year Zero? Listening to a recompiled In This Twilight with the same dynamics as the 1989 CD of Pretty Hate Machine cranked up on a good system is pretty awesome. This is what's frustrating about Trent, he has so much cool shit going on like appreciating surround sound (releasing The Social Network score as a 5.1 high resolution Blu-ray, who else does that? Hardly anyone!), dropping unmastered fully dynamic multitracks to two entire albums as well as a bunch of other stuff (Jane's Addiction Chip Away/Whores) - I can't even count on one hand how many times I've heard that happen, instrumentals, fighting like hell for fans to get the best tickets to show with their names on them scalper-free and calling out TM/LN at the same time (shame they deleted the forums where his post was), insanely brilliant live shows, doing two masterings (HM, even if the audiophile one turned out to be a big disappointment), dumping 400GB raw live footage via torrents, but then eviscerates the dynamics of Broken and calls it definitive! Has his hearing gone the way of Rick Rubin's? I don't know, I'm not his audiologist, lol.

In a perfect world they'd have released the DRminusinfinity version of Broken as a 16-bit download and done a nice new fully dynamic remastering for 24/96 version. You don't, and if you do you're doing it wrong, listen to 24/96 while jumping around at the gym, you do listen to 24/96 on your main system designed around maximum playback fidelity.




 

Trent Reznor and Atticus Ross Score Ken Burns’s ‘Vietnam War’
 
https://www.nytimes.com/2017/01/12/arts/music/trent-reznor-atticus-ross-ken-burns-vietnam.html?_r=2
 
 

Same here.  I take issue when the only version of a recording is the blown out sounding loudasfck master.  I love loud music, but I like some dramatic passages too.  Even in the loudest of music, you should still have cymbals not drowned in guitars/vocals.  NIN has made a less dynamic master that still sounds great.
 
And I'm nearly certain even if the loud masters are given to the pressing plant, they will go through some sort of change just to make it work on vinyl.  Also do keep in mind that Sr. Reznor may be giving a multi-track to whomever is mastering the vinyl edition.  He didn't say 'yo i'ma drop the flac on the vinyl house and have them press this old crap'.

Loudness does not equal bad necessarily.   But more dynamic, i.e. kick from drums and the like does sound more gooder.
I think loudness war music rubs people the wrong way who listen to entire albums in one sitting.   Hearing a loudly mastered song is great for a few minutes at a time.  Hearing a 45+minute album with little dynamic is grating, oftentimes boring.   I've had more than a handful of albums sound dull on digital and rhythmic on their vinyl releases.  That's the whole reason I like vinyl.  Not into the packaging/color variants/display aspect.
 
That said, I've given each of the remaster downloads a listen this last week or so.  They do sound clearer (mostly the noise textures, buzzing, some drums, etc) and don't exhibit the typical dull sound I'd associate with loudness war material.   Now going back to a CD or LP version, I find some production elements are noticeably less clear but overall the album is more exciting, builds to a crescendo, and sounds more like a live performance.    
 
tlDR; 'memba dynamics

yes, obviously.  but the loudness war mastering is not this thing.   it's more like car sales ad versus a movie.
 
just imagine if every emotional line in a movie was delivered at the volume of "GET YOURSELF A 2017 KIA SORENTO TODAY!"
 

I would be interested to hear your opinion once you upgrade your amp and as a disclaimer I'm not expecting your opinion to change just because you have better equipment...everyone experiences music differently. I find with great consistency that dynamically challenged recordings don't do it for me on my main system, I love the tension and release that changes in dynamics bring about (physiological response), I experience it myself when I'm playing piano or guitar. Anyway, I'm doing my listening on Acoustic Energy AELite 3 (http://www.acoustic-energy.co.uk/discontinued-products/aelite/aelite-3/) loudspeakers with an Onkyo TX-SR3010 AVR playing the FLAC files and CDs both through my Pioneer Elite BDP-62FD so that the transport is the same in each case. I do listen to the remasters in my car where I have a crappy factory GM Cobalt system, the car doesn't keep out noise much so there is lots of ambient noise inside the car and these loud remasters are suited for that sort of environment, one where critical listening would have me wrapped around a tree within two blocks. I listen to my vinyl on a Goldring GR-2 turntable, 1012GX cart and Parasound zPhono preamp, I have to say despite what the inaccurate vinyl rip shows the mastering sounds identical on Hesitation Marks vinyl to the digital mastering (either one).

Not sure people who listen with $3,000 headphones are studying graphs, seems like a bit of a straw man; most people I know with good equipment in the home listen to music with their eyes closed, I'm the same...I like my environment to disappear when I listen to music so I can come as close to experiencing what music was like for me 25 years ago when I dropped LSD a lot, lol.

There is lots in the NIN catalogue that isn't at these levels; Trent released multitracks for the entirety of the Year Zero and The Slip albums which are on par with somewhere between PHM '89 master and Broken '92 master, the 5.1 mixes of With Teeth and TDS are very dynamic, the 5.1 tracks on the AATCHB DVD and the BYIT Blu-ray. This refutes the argument that the original multitracks are already in this loud state.

It's odd that you find The Fragile "especially" louder as the volume is pretty much within a single decibel from the very loud original '99 CD. Broken 2017, PHM 2010 and TDS 2017 are all very noticeably cranked but The Fragile in terms of volume hasn't changed much. It is definitely brickwalled though as it always has been - here's a look at the waveforms (left and right) for the last 3m of the main part of "We're In This Together Now" - one is the original '99 CD and one is the 2017 remaster...pretty difficult to tell which is which but very easy to see they're both brickwalled and both very loud:



Now looking at the final 2m of "Wish"  you're correct that it should be immediately noticeable.



I find the CD kicks you in the teeth harder, that's generally what I expect given the bigger impact in the change of volume between the loud and soft passages not there to the same extent in the remaster. There's a reason why those loud bangs in horror movies add to the shock/scare of whatever is occurring on screen, it would lose its effect substantially were we to see this sort of sonic signature in movies.






 

I know right? I come here for the common descriptive one word reviews of "Amazing!", multiple shipping notification announcements, and inquiries as to when items without announced shipping dates will ship. How dare someone talk about sound quality in an informative and fair manner!

Please don't even talk to me about sound fidelity if you're not hooking up your turntable to your car.  Have some respect for the medium, goddammit.

It's gonna be hard to Euro 2008 pressing (with 320 in the deadwax). I had the Simply Vinyl reissue and the 320 blew it out of the water.

I listened to the broken download this morning...had to turn this thing down 30 percent from my normal listening volume 

It's just homework.  Really if the DR value isn't 10+, it's not going to be a great sounding vinyl release.   #DRvaluesMatter

So Acoustic Sounds just added a new listing for 24/96 and 24/192 downloads of the Singles OST. With no mastering information and AS unable to provide any, I bit the bullet with the 20% off coupon and ordered the 24/192 version.

Ugh, if this is the mastering that's going to make its way to an eventual vinyl release...I'll pass. This has been absolutely slammed in the mastering stage. Would? has gone from this powerful face-melter of a track to a sonic mess...so loud. It has lost approximately 6-7dB of dynamic range.

Of course there is no refund option, but at least I can write a review on there to warn others.

Holding out for Bullmoose. Pleased Analog Spark is doing this, too. That recent Kevin Gray Monk/Blakey pressing is superb.

Very disappointing news on the vinyl, the MOV pressing sounds excellent and better the more you turn it up, clearly containing all the dyanmics of the original. I don't know why they'd want to mess with the mix, but for God's sake why couldn't they have just done that for the CD and digital releases and sent off the master stereo tape to someone who treats vinyl properly, like Chris Bellman and cut it all analogue? After all that fanfare about getting the original ANALOG tapes back, it would have made sense no?

Anyway, the bonus audio and video stuff sounds really cool, especially that all the video stuff is included in HD on the Blu-ray, so I'm going to have to consider picking up that one. I love surround mixes but unfortunately with Adam Kasper involved my excitement went to zero. His 5.1 mix of Superunknown is unlistenable, worst 5.1 mix I've ever heard from original multitracks. And we can expect the touted 24/192 high resolution stereo mix to be loudness wars slammed just like Superunknown was.

TL:DR - bonus material sounds awesome and has me seriously considering the Super Deluxe edition. Will stick with MOV for vinyl. The names O'Brien and Kasper give very little reason to be excited about the new stereo or surround mixes.

25th Anniversary of "Smells Like Teen Spirit" today.
 
This song changed my life.
 
Thank you.

Very disappointing news on the vinyl, the MOV pressing sounds excellent and better the more you turn it up, clearly containing all the dyanmics of the original. I don't know why they'd want to mess with the mix, but for God's sake why couldn't they have just done that for the CD and digital releases and sent off the master stereo tape to someone who treats vinyl properly, like Chris Bellman and cut it all analogue? After all that fanfare about getting the original ANALOG tapes back, it would have made sense no?

Anyway, the bonus audio and video stuff sounds really cool, especially that all the video stuff is included in HD on the Blu-ray, so I'm going to have to consider picking up that one. I love surround mixes but unfortunately with Adam Kasper involved my excitement went to zero. His 5.1 mix of Superunknown is unlistenable, worst 5.1 mix I've ever heard from original multitracks. And we can expect the touted 24/192 high resolution stereo mix to be loudness wars slammed just like Superunknown was.

TL:DR - bonus material sounds awesome and has me seriously considering the Super Deluxe edition. Will stick with MOV for vinyl. The names O'Brien and Kasper give very little reason to be excited about the new stereo or surround mixes.

Thanks, Glad to share my opinion with the community on what I think of this horrible band and their shit music and this album.The splatter vinyl does look nice though.

I have the two different purple type MOV versions. I can't really see how this new mix is going to be better. The lack of the unreleased tracks on vinyl is just plain stupid.
Exactly. Got mine for SF.

Didn't MOV do a real nice pressing of this a couple of years ago. A little late on this one PJ... 
Also if my memory serves me correct, wasn't the ten remaster by O'brien received with mixed reviews..?
I too, will wait until I hear reviews of this.