dobyblue

If I ever need to be told that I shouldn't be excited for something I'm excited about, I'm glad there will always be Vinyl Collective.

Why do so many people take differing opinions of others so personally? Why are negative opinions always labeled as trolling? There is a difference. 
 
The last three reissues didn't end up being very good if SQ was important. Is hoping these are better really that offensive?

I'm only involved in the vinyl releases and can speak about those with 100% certainty, but I am pretty sure we're getting bonus tracks on the digital packages. It was 10 days between Elusive Disc listing UTTAD and DMB posting the full details, so hopefully we'll know in a similar time frame. I know how good the vinyl sounds, now I'm champing at the bit to see what else is coming.

Also to the best of my knowledge BTCS will be done the same (AAA) and thus if you haven't bought one of the '98 STERLING releases, I'd consider that now a mission worth shelving. The remaster will blow it away.

That's cool, but not everyone here feels the same way as you. Records are expensive compared to digital, and can have lots of problems inherent to the format. And while vinyl is my preferred way to listen and interact with my music, I'm not like some here who feel they need to listen to or own the vinyl format regardless of source, integrity, or quality of the release. 

I don't think thats right.
 

Another impossibly vague vinyl announcement by a major artist. Pearl Jam care more about offering vinyl than the execution of it.

What's the source material? Where is it being pressed? Is this the first time No Code is being specifically mastered for vinyl in which case the original is the CD cut to vinyl, or is this the first time No Code is being specifically mastered for vinyl by Bob Ludwig? Again, impossibly vague.

How do they reissue Ten and not realize that 28 minutes for SIDE A is far too long? Vs. was WB@NRP and that was pressed at URP, pretty soundly panned.

There hasn't been a single title in the Pearl Jam vinyl reissue series that has mentioned the source material, not once.

How does Pearl Jam, the band who released Vitalogy in 1995 with a two week exclusive vinyl window get vinyl so wrong while Dave Matthews Band, who didn't even do a single widescale vinyl release until 2009, are doing vinyl so right (Crash has been cut all analogue from the original stereo master tape by Chris Bellman @ Bernie Grundman Mastering and pressed at MPO)

Hopefully in a few years a specialty label like MFSL, Analogue Productions, ORG Music, Audio Fidelity, etc., may license these for AAA vinyl and analogue > DSD SACD Hybrid releases. AF licensed the 1/2" 30ips analogue master tapes for RATM's debut for a direct to DSD Hybrid SACD release coming out June 17th, mastered by Steve Hoffman, and so there is a whimper of hope that these incredible Pearl Jam albums, coming under the same label umbrella, may some day get the treatment they deserve.

If anyone wants to retire their original pressings, I'll buy them off you for the cost of the new pressings.

Yeah, it's a bit nerdy, but if one is not going to do it right, why do it at all?

Another impossibly vague vinyl announcement by a major artist. Pearl Jam care more about offering vinyl than the execution of it.

What's the source material? Where is it being pressed? Is this the first time No Code is being specifically mastered for vinyl in which case the original is the CD cut to vinyl, or is this the first time No Code is being specifically mastered for vinyl by Bob Ludwig? Again, impossibly vague.

How do they reissue Ten and not realize that 28 minutes for SIDE A is far too long? Vs. was WB@NRP and that was pressed at URP, pretty soundly panned.

There hasn't been a single title in the Pearl Jam vinyl reissue series that has mentioned the source material, not once.

How does Pearl Jam, the band who released Vitalogy in 1995 with a two week exclusive vinyl window get vinyl so wrong while Dave Matthews Band, who didn't even do a single widescale vinyl release until 2009, are doing vinyl so right (Crash has been cut all analogue from the original stereo master tape by Chris Bellman @ Bernie Grundman Mastering and pressed at MPO)

Hopefully in a few years a specialty label like MFSL, Analogue Productions, ORG Music, Audio Fidelity, etc., may license these for AAA vinyl and analogue > DSD SACD Hybrid releases. AF licensed the 1/2" 30ips analogue master tapes for RATM's debut for a direct to DSD Hybrid SACD release coming out June 17th, mastered by Steve Hoffman, and so there is a whimper of hope that these incredible Pearl Jam albums, coming under the same label umbrella, may some day get the treatment they deserve.

If anyone wants to retire their original pressings, I'll buy them off you for the cost of the new pressings.

Another impossibly vague vinyl announcement by a major artist. Pearl Jam care more about offering vinyl than the execution of it.

What's the source material? Where is it being pressed? Is this the first time No Code is being specifically mastered for vinyl in which case the original is the CD cut to vinyl, or is this the first time No Code is being specifically mastered for vinyl by Bob Ludwig? Again, impossibly vague.

How do they reissue Ten and not realize that 28 minutes for SIDE A is far too long? Vs. was WB@NRP and that was pressed at URP, pretty soundly panned.

There hasn't been a single title in the Pearl Jam vinyl reissue series that has mentioned the source material, not once.

How does Pearl Jam, the band who released Vitalogy in 1995 with a two week exclusive vinyl window get vinyl so wrong while Dave Matthews Band, who didn't even do a single widescale vinyl release until 2009, are doing vinyl so right (Crash has been cut all analogue from the original stereo master tape by Chris Bellman @ Bernie Grundman Mastering and pressed at MPO)

Hopefully in a few years a specialty label like MFSL, Analogue Productions, ORG Music, Audio Fidelity, etc., may license these for AAA vinyl and analogue > DSD SACD Hybrid releases. AF licensed the 1/2" 30ips analogue master tapes for RATM's debut for a direct to DSD Hybrid SACD release coming out June 17th, mastered by Steve Hoffman, and so there is a whimper of hope that these incredible Pearl Jam albums, coming under the same label umbrella, may some day get the treatment they deserve.

If anyone wants to retire their original pressings, I'll buy them off you for the cost of the new pressings.

Avoid the XX remaster of Rage debut.
Avoid the last Jane's Addiction album on vinyl. In each case it sounds like they've tried to cut the same awful loudness wars CD to vinyl and it sounds worse. Not surprisingly Vlado Meller was the mastering engineer on both. Want RATM? Get the original all analogue US cut or second best would be original UK or Music on Vinyl MOVLP043, some Amazon sellers still have it in stock.

Avoid the XX remaster of Rage debut.
Avoid the last Jane's Addiction album on vinyl. In each case it sounds like they've tried to cut the same awful loudness wars CD to vinyl and it sounds worse. Not surprisingly Vlado Meller was the mastering engineer on both. Want RATM? Get the original all analogue US cut or second best would be original UK or Music on Vinyl MOVLP043, some Amazon sellers still have it in stock.

I imagine it's DMM, it's right on the lacquer and the sticker notes it's One Little Indian still and is the copy you can buy directly from them.

So how does it sound, well the pressing quality isn't fantastic, mine is noisy between tracks and has a few ticks here and there but none so far that would cause you to be worried about the volume on your speakers, but despite those issues...HOLY MOSES does this one sound good? I put on SIDE B first and it said 33rpm but within a few seconds of the track playing I knew it was 45rpm so I removed the platter and changed the belt and then got taken for a ride...Becoming X was the first tracks I listened to - granted I haven't listened to it in several years and I've never listened to it critically, but it sounded absolutely amazing! I seriously could not believe just how cracking this track sounded, and I recently upgraded my fronts from Paradigm Monitor 11v4 to Acoustic Energy AElite3, the bass response on this record is beyond reproach! Stunning, visceral, do not hesitate to add to your collection if you were on the fence.

I imagine it's DMM, it's right on the lacquer and the sticker notes it's One Little Indian still and is the copy you can buy directly from them.

So how does it sound, well the pressing quality isn't fantastic, mine is noisy between tracks and has a few ticks here and there but none so far that would cause you to be worried about the volume on your speakers, but despite those issues...HOLY MOSES does this one sound good? I put on SIDE B first and it said 33rpm but within a few seconds of the track playing I knew it was 45rpm so I removed the platter and changed the belt and then got taken for a ride...Becoming X was the first tracks I listened to - granted I haven't listened to it in several years and I've never listened to it critically, but it sounded absolutely amazing! I seriously could not believe just how cracking this track sounded, and I recently upgraded my fronts from Paradigm Monitor 11v4 to Acoustic Energy AElite3, the bass response on this record is beyond reproach! Stunning, visceral, do not hesitate to add to your collection if you were on the fence.

I've got an original and I'm expecting my Amazon marketplace order to arrive any time soon so will report back in both threads with any differences I can see
 

Pic of my test pressings of DMB's Live Trax Vols 2 and 3, each was limited to 5 copies.
From Record Industry, Netherlands. They moved to MPO for Remember Two Things onwards. 

You grew out of them? You are 16. You weren't even alive when they put out their best stuff

Thank you!  Some artists are aware of it, others aren't.  
 
Also SteveHoffmanForums is where it's at if you care how the audio sounds above all else. I like SHF.
 
I don't understand why when an album is released they don't just do: a DVD-audio/data disc (or a download) with high-res/no-DRC and a DRC-compressed MP3, and an LP or two.
 
Maybe I just like the wrong type of music 

The worst. Seriously. Only acceptable LPs to frame.

Labels need to fuck themselves in the face and learn what the fuck the point of a vinyl release is.

Fucking picture disc

I know nothing except I've unfortunately rarely heard a picture disc that had decent AQ in any shape or form. This definitely needs a new press along with louder than love and badmotorfinger.

Main rack, from top to bottom: Goldring GR-2 turntable, Pioneer Elite BDP-62FD with Parasound Zphono behind it, Toshiba D-R410 DVD Recorder, JVC dual cassette deck (TD-W254), PlayStation 3 sitting on top of Orei BDP-M2 region free 3D Blu-ray player, Bell Satellite HD PVR sitting on Panamax M5100-PM Power Conditioner, Onkyo TX-NR3010 with an Antec AV Cooler on top to keep it running extremely cool to the touch.



I've upgraded my main speakers from Paradigm Monitor 11v4s to Acoustic Energy AElite 3s, they cost over twice as much as the Paradigms but I got an incredible deal from them as the line had been discontinued a couple years ago, paid about 30% of MSRP, yes OF, not OFF. The smaller footprint has allowed me to install them further away from the wall and the bass response now is absolutely magic. All walls have sound insulation behind them, but definitely the new placement brought the bass to a new controlled, deep and precise level. I now no longer listen to CDs with the AVR's DSPs crossover engaged to include my sub (Paradigm Servo 15v2) but rather in PURE DIRECT mode like I do all vinyl.

Here's a pic of the AElite 3s when I first brought them home and had them set-up as my zone2 speakers, before I moved them downstairs.



(Grilles off for pic)

More system pics here - http://www.blu-ray.com/community/gallery.php?member=dobyblue&folderid=8407

Thanks for the heads up, just ordered this one. When I first looked I saw the LP listing only and the running time made my mind up for me that I'd steer clear, but 2LP and 45rpm is a different ballgame. 12, 13, 13 and 10 side times, hope it sounds fantastic. I'll comment back for sure.

Main rack, from top to bottom: Goldring GR-2 turntable, Pioneer Elite BDP-62FD with Parasound Zphono behind it, Toshiba D-R410 DVD Recorder, JVC dual cassette deck (TD-W254), PlayStation 3 sitting on top of Orei BDP-M2 region free 3D Blu-ray player, Bell Satellite HD PVR sitting on Panamax M5100-PM Power Conditioner, Onkyo TX-NR3010 with an Antec AV Cooler on top to keep it running extremely cool to the touch.



I've upgraded my main speakers from Paradigm Monitor 11v4s to Acoustic Energy AElite 3s, they cost over twice as much as the Paradigms but I got an incredible deal from them as the line had been discontinued a couple years ago, paid about 30% of MSRP, yes OF, not OFF. The smaller footprint has allowed me to install them further away from the wall and the bass response now is absolutely magic. All walls have sound insulation behind them, but definitely the new placement brought the bass to a new controlled, deep and precise level. I now no longer listen to CDs with the AVR's DSPs crossover engaged to include my sub (Paradigm Servo 15v2) but rather in PURE DIRECT mode like I do all vinyl.

Here's a pic of the AElite 3s when I first brought them home and had them set-up as my zone2 speakers, before I moved them downstairs.



(Grilles off for pic)

More system pics here - http://www.blu-ray.com/community/gallery.php?member=dobyblue&folderid=8407

I become obsessed with Nothing Records after this and got into PWEI. Def would have loved to see them as well, but at the same time, that era was THE time to experience Manson. My 14 year old mind was blown.