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kowalski
Vinyl OK, but please from original masters. Not from digitally compressed & brickwalled remaster (like the Universal Music recent vinyl reissues of Stones back catalog).
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RoscoeQuote
kowalski
Vinyl OK, but please from original masters. Not from digitally compressed & brickwalled remaster (like the Universal Music recent vinyl reissues of Stones back catalog).
I've heard that the recent vinyl pressing of Beggars Banquet is actually quite good, remaster notwithstanding. And to a lesser degree, Let It Bleed. The rest are said to be typical remastered crap. Can anyone comment on BB and LiB? I haven't heard 'em.
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runawayQuote
RoscoeQuote
kowalski
Vinyl OK, but please from original masters. Not from digitally compressed & brickwalled remaster (like the Universal Music recent vinyl reissues of Stones back catalog).
I've heard that the recent vinyl pressing of Beggars Banquet is actually quite good, remaster notwithstanding. And to a lesser degree, Let It Bleed. The rest are said to be typical remastered crap. Can anyone comment on BB and LiB? I haven't heard 'em.
The vinyl "Let It Bleed" 1969 still sounds great after all these years
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RoscoeQuote
kowalski
Vinyl OK, but please from original masters. Not from digitally compressed & brickwalled remaster (like the Universal Music recent vinyl reissues of Stones back catalog).
I've heard that the recent vinyl pressing of Beggars Banquet is actually quite good, remaster notwithstanding. And to a lesser degree, Let It Bleed. The rest are said to be typical remastered crap. Can anyone comment on BB and LiB? I haven't heard 'em.
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[...]
Now, about that sound: first I just played the new reissued double vinyl mastered by Doug Sax at The Mastering Lab. How many times have I heard this record? Probably hundreds. This new re-mastering sounded compacted, spatially flattened, deliberately dynamically compressed and shockingly bass-shy. The horns that are supposed to cut through with a mean edge on “Rocks Off” were limp, Charlie’s signature snare sound was soft. I mean it really sucks on a stereo but probably will sound swell on an iPod played back with cheap earbuds. The mastering gamesmanship does produce the sensation of more detail and greater transparency but it's sham detail and sham transparency. This production has had it's balls cut off.
Switching to the Stephen Marcussen mastered CD produced essentially the same blah results (you can hear the same tape "crinkle" 3 minutes into "Casino Boogie" on both) so blame him not Doug Sax who cut the vinyl from 44.1k/24 bit files and it sounds like it. The added bit depth does make the vinyl sound somewhat more detailed but why bother with the vinyl? Too bad, because the pressing quality is excellent. I have trouble believing this was pressed at United in Nashville. I bet it was pressed at Rainbo in L.A., which has really stepped up to the quality plate.
In fact why bother with this at all when if you play Bob Ludwig’s CD mastering for Virgin years ago, you’ll hear what this record is supposed to sound like, as intended for a real grown up stereo system, with bass, full dynamic range and as much three-dimensionality as redbook CD can manage, which admittedly isn’t much.
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RoscoeQuote
runawayQuote
RoscoeQuote
kowalski
Vinyl OK, but please from original masters. Not from digitally compressed & brickwalled remaster (like the Universal Music recent vinyl reissues of Stones back catalog).
I've heard that the recent vinyl pressing of Beggars Banquet is actually quite good, remaster notwithstanding. And to a lesser degree, Let It Bleed. The rest are said to be typical remastered crap. Can anyone comment on BB and LiB? I haven't heard 'em.
The vinyl "Let It Bleed" 1969 still sounds great after all these years
Yeah, I have UK and US '69 pressings of LiB and yes, they still sound great. '68 BB as well. But I'm asking about the recent repressings/remasters; not only about how they stand up to the originals, but how they stand on their own.
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kowalskiQuote
RoscoeQuote
kowalski
Vinyl OK, but please from original masters. Not from digitally compressed & brickwalled remaster (like the Universal Music recent vinyl reissues of Stones back catalog).
I've heard that the recent vinyl pressing of Beggars Banquet is actually quite good, remaster notwithstanding. And to a lesser degree, Let It Bleed. The rest are said to be typical remastered crap. Can anyone comment on BB and LiB? I haven't heard 'em.
The vinyl reissues of BB and LIB are good (and all albums from the 60's actually) as they're made from Bob Ludwig 2002 remasters which are respectful of the original recordings.
Problems start with Sticky Fingers to ABB : these vinyls are made from 2009 digital remasters which are very loud and don't suit to vinyl pressing. (even on CD they sound terrible)
Edit :
A review of the vinyl reissue of Exile on Main St : Exile For the iPod GenerationQuote
[...]
Now, about that sound: first I just played the new reissued double vinyl mastered by Doug Sax at The Mastering Lab. How many times have I heard this record? Probably hundreds. This new re-mastering sounded compacted, spatially flattened, deliberately dynamically compressed and shockingly bass-shy. The horns that are supposed to cut through with a mean edge on “Rocks Off” were limp, Charlie’s signature snare sound was soft. I mean it really sucks on a stereo but probably will sound swell on an iPod played back with cheap earbuds. The mastering gamesmanship does produce the sensation of more detail and greater transparency but it's sham detail and sham transparency. This production has had it's balls cut off.
Switching to the Stephen Marcussen mastered CD produced essentially the same blah results (you can hear the same tape "crinkle" 3 minutes into "Casino Boogie" on both) so blame him not Doug Sax who cut the vinyl from 44.1k/24 bit files and it sounds like it. The added bit depth does make the vinyl sound somewhat more detailed but why bother with the vinyl? Too bad, because the pressing quality is excellent. I have trouble believing this was pressed at United in Nashville. I bet it was pressed at Rainbo in L.A., which has really stepped up to the quality plate.
In fact why bother with this at all when if you play Bob Ludwig’s CD mastering for Virgin years ago, you’ll hear what this record is supposed to sound like, as intended for a real grown up stereo system, with bass, full dynamic range and as much three-dimensionality as redbook CD can manage, which admittedly isn’t much.