Steven Wilson SW Audeze Video

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sjcorne

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any chance Bowie's original producer, Tony Visconti, might shift ATMOS remixing responsibilities for Bowie's catalogue to Mr. Steve Wilson?
Visconti's Atmos mix of Space Oddity and his 5.1 mix of Young Americans were both great, I hope he gets the chance to tackle more of the back catalog (especially the Berlin albums). SW can't do 'em all.
 

4-earredwonder

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Visconti's Atmos mix of Space Oddity and his 5.1 mix of Young Americans were both great, I hope he gets the chance to tackle more of the back catalog (especially the Berlin albums). SW can't do 'em all.
Agreed, both of Visconti's remixes are stunning but the man is 78 [born 1944] and Bowie's catalogue SO expansive, there's only so much one man can accomplish..and I suppose that also applies to Mr. Wilson himself who has his hands full nowadays...but might jump at the opportunity to do so!

Likewise, having Bowie's Berlin Trilogy in surround is a dream .... years ago, I coupled one of my Super 8 'opuses' up with selections from Bowie's LOW and without specifically editing to the music, it uncannily synched up perfectly with the visuals .....KISMET?
 
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ssully

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Why would he add an analog tape simulator plugin to a source that is analog tape in the first place?
 

sjcorne

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To simulate the analog master tape, or to allow for tape overdrive on the "playback" of the individual tracks.
Indeed, for the same reasons I'm sure Giles Martin is using plugins like the EMI REDD console or J37 tape emulator on his mix bus for the Beatles remixes.
He can recognize classic equipment used from the SOUND of a STEREO MIX???
On repeat listens with a critical ear (and a bit of research into studio practices of the time), you can start to pick up on these "signature tones" that come from outboard processing. One example could be the aggressive acoustic guitar sound on Beatles tracks like "Norwegian Wood" or "I'm Only Sleeping" that came from use of the Fairchild 660 unit.
 

ssully

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To simulate the analog master tape, or to allow for tape overdrive on the "playback" of the individual tracks.

The multitrack tapes were already played back on a RTR deck. And that output was fed into an ADC to produce the files Wilson gets. Whatever playback-related tape overdrive happened, was captured then.

The idea that *even more* tape-playback-related distortion should be added as part of stereo mixdown, is simply effing hilarious, since one of the very *points* of digital was to avoid such 'generational' artifacts. And yes , I know it's done anyway.
 
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J. PUPSTER

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JediJoker

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The multitrack tapes were already played back on a RTR deck. And that output was fed into an ADC to produce the files Wilson gets. Whatever playback-related tape overdrive happened, was captured then.
My assumption would be it was captured clean. Should the mixer want to later add overdrive, they would use a plugin.
 
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