firefoxUSSR

It's ironic I see so much vitriol about SRC, even if it might be well-deserved. Had literally no issue with my last order from them. Shipped 4 days ago (within 2 days of ordering) and I'll most likely be getting my 5 records either tomorrow or Wednesday. I lurked long enough to learn that buying anything on their store that they didn't press would be a major mistake.
 
But what's annoying is getting daily emails from them mentioning they have pretty much the same exact quantity of NME, but HURRY BECAUSE THEY'RE ALMOST GONE. Now watch that counter go towards one and magically grow a couple extra zeros at the end...

make sure to post from the road so we know you are okay

I was waiting for one to pop up in stock at my local Bullmoose. Checked the site this morning and sure enough, it was in. Grabbed it today, and was lucky enough to buy #500.
 
 

 

>mfw people assume Glassjaw will use 2017 to release anything other than a 7" lathe inside a custom pizza box bundled with skateboards sold exclusively at a secret show
 

I grew up eating living on raw cookie dough, Nintendo, and this album. Can't wait for this one. Thanks OP!

did anyone get extras?  my copy of Blonde came yesterday, however, it was not in the delivery packaging.  it was literally sitting on top of my mailbox in pristine condition.
i'm not sure if i received any extras since it looks like someone opened the package but left the record??

Authorized by TR; all you need to do is load each file in Audacity, CTRL+A to select all and then choose TRACKS > MIX AND RENDER.

I can't recall if you need to amplify by minus 10dB or not first but you'll know if you mix and render and everything goes red like an Oasis waveform clipping to shite!

If you aren't too familiar with the process, let me know and I'll throw In This Twilight into a Dropbox. If TR has authorized it, I can't see it being an issue with anyone.

The multitracks (choose full length) are located here - http://www.ninremixes.com/multitracks.php

You can also snag The Slip from here and the NIN/JA tour sampler and get a nice dynamic mix of Chip Away from Jane's Addiction. Most of the other multis are not the original studio multis but rather Rock Band stems and the like. Each one is noted though so if there are one or two others they'll be easy to find.
 
Oh yeah, "Suck" (Pigface version) is there also as well as The Hand That Feeds and Only.

As you are familiar with DR stuff, check out the difference between THTF from Halo 18 (single)  vs. multitracks rendered to stereo:
 
DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR5 -1.04 dB -7.54 dB 3:39 01-The Hand That Feeds DR14      -0.43 dB   -17.66 dB      3:38 01-The Hand That Feeds (from Multitracks)

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?  

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.




 

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'.

I 100% understand where every single post on this page is coming from, and I wholeheartedly agree with all points made, but I still feel like the definitive remasters don't tread anywhere near the realm of "blown out".  But that's just my take.  I'll wait to hear how the official vinyl sounds since anything can happen in the pressing process, but as it stands I'm currently enjoying The Fragile more than I ever have and don't find it necessary to swap paragraphs and spectrographs to defend why my ears aren't fatigued from listening to it from start to finish.

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 mean, it'd be jarring yeah, but it still comes down to intent, haha.
 
But yes.  If you are intending on dynamic range and clarity you do not achieve it but blowing out the volume.

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

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!

So is this what the Steve Hoffman forums are always like?

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.






 

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

If a pressing of Houston: We Have a Drinking Problem comes to fruition, all will be forgiven.
 
The other record would be nice too.  Acrophobe is one of the best sounding LPs I own.

DECHTBDAY is $10 off $30 and works on vinyl.

Thankfully, it got pushed up from March to 1/6/17. So hopefully we only have to wait around a week for it to come out?

The only album of theirs I've ever really liked is Point #1, but if that gets a vinyl pressing, sign me right the hell up.

Whoa why is everyone jumping on this person for displaying a record? Sure this person may be trying too hard for a certain aesthetic since they can't even present it through photography nicely. Maybe it's not completely sealed and they cut a slit to take the records out? Either way, don't be salty. It could be their only three records and that's how they chose to display it.