Jethro Tull 5.1 (“Bursting Out” box set with Steven Wilson 5.1 mixes out in June 2024!)
- Thread starter JohnN
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Time at last to give it listen!
WOW!
SO WONDERFUL!!!!!
It's a 10 from me!!!!
WOW!
SO WONDERFUL!!!!!
It's a 10 from me!!!!
Mixed in "5.7" he said, anyone got a system that can decode that?:yikes also it "contains sprites" I'm gonna have to complain to my supplier 'cos I didn't (unless it escaped and did a runner without me seeing as I was unpacking it)
JerseyEd
400 Club - QQ All-Star
Mine came from Bullmoose today. I always get my orders in 2 days, and that's without any special shipping charges. Listened to the 5.1 and watched the concert. The concert and 5.1 sound are great, but during the second half of the concert there are green lines that appear on screen. It seems like it was from one particular camera. Maybe they shouldn't have taken a break to pee!
@:
milt
800 Club - QQ All-Star
Am I the only one who doesn't get "unboxing" videos? The point is?
Nevermind.....
I got mine yesterday from my Amazon pre-order. Very nice set as expected from the series. Great album. Nice mix. I was hoping for a bit more from the 5.1? Not sure. Need to give it a second listen. And then probably a few more..
Nevermind.....
I got mine yesterday from my Amazon pre-order. Very nice set as expected from the series. Great album. Nice mix. I was hoping for a bit more from the 5.1? Not sure. Need to give it a second listen. And then probably a few more.
.
True! The only decent ones I've seen are done by Paul Sinclair of SDE.
I doubt they undertook a new remix for this new release. That almost certainly would have been mentioned.
I just listened to to my Adapted versions, and can confirm they didn't "fix" the flute solo in the 5.1 mix.
It sounds exactly as you describe.
I have to give you major props for your golden ears and articulate descriptions of the sound field.
And for being willing to spend another $40 for 40 seconds of music if it had indeed been "fixed."
When I got this I was delighted the '74 quad mix was included, and after many listenings decided I prefer it to the 5.1.
It's interesting that Steven Wilson espouses remaining "faithful" to the original sound field when remixing.
Your example reveals he's not afraid to take some liberties.
I recently lamented SW's "taking liberties" too much on some of his remixings. In the Marillion Misplaced Childhood thread, I posted this:
Obviously a new mix has to be created whenever you start with the original multitrack masters, but I would like SW more if he would keep all the track levels and EQ as close to original as possible, while simply assigning certain elements among the available channels. If you go too far, it ceases to be Jethro Tull and becomes Wilson Tull, which isn't what I want. This burying of the flute in the remix is just what I'm talking about. I can cite at least a dozen examples like that, and I only have a handful of titles that he's done.
I'm willing to bet I'll like the quad tracks more than the 5.1, as well. But we shall see.
milt
800 Club - QQ All-Star
So regarding this Tull release (and all the others in the series) the LPCM and the DTS are both 96/24.
DTS 96/24 is still lossy compressed. LPCM 96/24 is not.
(Not that it matters to me. My set arrived last Thursday btw.)
And? What do you think??
May be...but wow. If you eliminate Steven Wilson from the picture. Eh....we don't have much of any Tull in surround. So, for that - he is the effing man. Give me all that he is willing to work on.
Please keep in mind that when it comes to EQ in particular, a lot of what you're hearing on many of these SW remixes is closer to what is actually on the multitrack tapes.
Mastering a stereo mix for vinyl meant limiting some of the higher and lower frequencies in order to make sure that the album could be properly cut to and played back on vinyl.
Now that these remixes are mostly being released on optical and digital formats (CD, DVD, Blu-Ray, download, etc.) those kind of limitations no longer apply.
Very very true - some may love their vinyl for a lot of reasons (many valid) but the analog "warmth" that people seem to love did have a price - deep bass hits had to be rolled off a bit as they'd make the needle jump etc. So...though many think and say that the vinyl is what the artist wanted it may not be true - it's what they had to do with the limitations at that time....a record that jumped/skipped every time a solid bass note was hit was not much use to anyone no matter how great it sounded on the multitrack in the studio.
There are so many complaints (again, many very justified!) about the remaster "loudness wars" stuff that goes on these days, but it's not really anything new...been happening since they came up with the compressors that are used in studios, just done with less subtlety than needed for the formats out there today.
Thanks. It's just a matter of being able to switch off channels selectively... it's a bit boring but it helps in understand what is happening. Actually, it helps in understand what you hear with all the channels "on" and why it sounds wrong (to my ears, obviously).
I think I'll try, taking advantage of the lossless hi-res version, to "fix" it myself. It shouldn't be too hard (last famous words, clearly).
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Amen to that, brother.
Let's celebrate the wonderfulness of hearing clean hi-def 1971 2.0, 1974 4.0, and 2011 5.1 of a classic album.
Vive la différence!
Your Mileage May Vary!
Gorman pointed out a fairly dramatic example of the choices a re-mixer makes.
Any of us have our preferences and might have done some things differently.
(For those playing along at home, the passage in question starts around 35:45.)
And done. I've isolated the flute solo (luckily it sits pretty much *only* in the center channel), amplified it by 2.9db (the maximum reachable before clipping).
Then gone back to the original center channel content, isolated the flute solo once more, added it to the mix of both R and L channels, attenuated so as not to introduce clipping. I did this because Ian's singing is always mixed in L and R channels throughout the song, it's just the flute that gets confined to the center channel.
Exported as FLAC, played it back through my HTPC. Much closer to what I would expect from that specific passage.
Luckily I handle all of my multichannel playback through HTPC and/or Squeezebox (that can bitstream DTS encapsulated in FLAC), convenience beats any other consideration.
Happy now.
Original Waveform for the six channels:
Modified Waveform for the six channels:
Edit: This in no way at all is meant to diminish the incredible work Wilson has been doing for the multichannel scene in general or on this specific album. I preordered Songs from the Wood with no regrets after having received it and having listened to it (incredible value for the price, btw).
In Locomotive Breath's case I thought about modifying the mix just because, having access to the lossless hi-res files, I could do it with little to no risk of messing things up.
Then gone back to the original center channel content, isolated the flute solo once more, added it to the mix of both R and L channels, attenuated so as not to introduce clipping. I did this because Ian's singing is always mixed in L and R channels throughout the song, it's just the flute that gets confined to the center channel.
Exported as FLAC, played it back through my HTPC. Much closer to what I would expect from that specific passage.
Luckily I handle all of my multichannel playback through HTPC and/or Squeezebox (that can bitstream DTS encapsulated in FLAC), convenience beats any other consideration.
Happy now.
Original Waveform for the six channels:
Modified Waveform for the six channels:
Edit: This in no way at all is meant to diminish the incredible work Wilson has been doing for the multichannel scene in general or on this specific album. I preordered Songs from the Wood with no regrets after having received it and having listened to it (incredible value for the price, btw).
In Locomotive Breath's case I thought about modifying the mix just because, having access to the lossless hi-res files, I could do it with little to no risk of messing things up.
