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AntoineParis
Bob Clearmountain seems to be "too expensive" for those kind of project now...
poor us
That's also what I think. Still I wonder why they engage Sam Wheat again and again while he keeps on delivering these poor mixes. Ever since Voodoo Lounge Uncut the should have searched for a different engineer.Quote
AntoineParis
Bob Clearmountain seems to be "too expensive" for those kind of project now...
poor us
VL Uncut was definitively a flop.Quote
DandelionPowderman
I'll make up my mind about how the mix sounds when I play it on my stereo system
Apart from VL Uncut, the other releases on vinyl have been pretty good, imo, Atlantic City included.
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frankotero
The YouTube clip didn't sound bad to me, and that's 128kbps. I expect the discs will be good. And yeah, VL Uncut I don't know what happened to that one. I haven't even played it all the way through.
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ironbellyVL Uncut was definitively a flop.Quote
DandelionPowderman
I'll make up my mind about how the mix sounds when I play it on my stereo system
Apart from VL Uncut, the other releases on vinyl have been pretty good, imo, Atlantic City included.
For the rest they found a solution. Put guitars as far left/right as you can, center bass and vocals, bust 120Hz to bump your stomach, cut a bit most annoying 3kHz and compress everything as hard as you can.
In that case everything will be heard on cheap headphones in noisy environment . Actually, they did it to new Japanese remaster of LA Friday and Hampton, Bridges to Argentina, Bridges to Bremen, Steel Wheels Atlantic City 1989. Although for the bonus disc in Steel Wheels Superdeluxe they overdid 120Hz bust One can barely listen to that even on cheap sound system.
Surely, LP releases is a bit different story.
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StonedRamblerThat's also what I think. Still I wonder why they engage Sam Wheat again and again while he keeps on delivering these poor mixes. Ever since Voodoo Lounge Uncut the should have searched for a different engineer.Quote
AntoineParis
Bob Clearmountain seems to be "too expensive" for those kind of project now...
poor us
I guess Mick has to like them with what's left of his hearing.
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jbwelda
It has occurred to me that these releases are not really meant to be listened to, they are meant more as a souvenir than an actual musical product. The poor (and probably quick and cheap) mix makes me think this more and more. I don't think anyone listens to or cares to listen to the final product, and when they do, they don't really listen, they just "oh yeah its the rolling stones, great..." and go on to the next project. And it always does seem like that from the promo material they release, its all about the location or the beach or something other than the music. Which, lets face it, is pretty darn pedestrian in scenes like this. Way more sizzle than steak as they used to say. And so the actual release reflects this.
Hopefully they got some 69 coming our way. That would go a long ways toward excusing this sad state of affairs.
jb
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jbwelda
Hopefully they got some 69 coming our way. That would go a long ways toward excusing this sad state of affairs.
jb
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24FPS
Such a fuss over a product you pretty much already have. And if Salt Lake is a bonus, it's not different from all the other shows of that time. It truly is for the souvenir hoarders who have to have everything, regardless of quality.
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DandelionPowdermanQuote
24FPS
Such a fuss over a product you pretty much already have. And if Salt Lake is a bonus, it's not different from all the other shows of that time. It truly is for the souvenir hoarders who have to have everything, regardless of quality.
This is true, although the Zilker Park-show (the only officially released one) is very different to a regular ABB-show.
As a document of the ABB-tour Salt Lake might be a more representative show (for better or worse, if we need that).
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hockenheim95Quote
DandelionPowdermanQuote
24FPS
Such a fuss over a product you pretty much already have. And if Salt Lake is a bonus, it's not different from all the other shows of that time. It truly is for the souvenir hoarders who have to have everything, regardless of quality.
This is true, although the Zilker Park-show (the only officially released one) is very different to a regular ABB-show.
As a document of the ABB-tour Salt Lake might be a more representative show (for better or worse, if we need that).
Yes, you don't hear Pierre de Beauport on any other Show! The overdubs destroy Austin completely for me but it has it's moments
The mix is so bad it's really unbelievable. Wild Horses sounds like he's singing through a telephone. And not even a good one.Quote
Irix
5-Track digital EP:
1. Sympathy For The Devil (Live) - 8:01
2. Wild Horses (Live) - 5:37
3. You Got Me Rocking (Live) - 3:34
4. Happy (Live) - 3:54
5. Rough Justice (Live) - 3:34
[Music.Apple.com] , [www.Qobuz.com]
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Elmo Lewis
In reality, since 1989, the shows are mostly the same (or very similar).
The setlist variety is what I generally go for. For example, I wanted "Memory Motel" with no Dave Matthews, so I bought Bremen.
Actually, I have bought most of the live releases, as there are usually one or two "rarities". on each. "Emotional Rescue" from Sweet Summer Sun is another one.
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StonedRamblerThe mix is so bad it's really unbelievable. Wild Horses sounds like he's singing through a telephone. And not even a good one.Quote
Irix
5-Track digital EP:
1. Sympathy For The Devil (Live) - 8:01
2. Wild Horses (Live) - 5:37
3. You Got Me Rocking (Live) - 3:34
4. Happy (Live) - 3:54
5. Rough Justice (Live) - 3:34
[Music.Apple.com] , [www.Qobuz.com]
Strangely enough, the Salt Lake mix seems actually quite good.
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henrik87
Maybe it's due to the source material though it's hard to believe that a concert is recorded differently to others from the same tour (same mics, same amps etc).
But compare Bremen 98 to other BtB shows. The TV broadcast also sounded quite sharp and metallic. Others like Chicago, Buenos Aires etc. got a more warm sound. Though the mix of Bridges to Bremen is different to the broadcast it has got the same sharp sound whereas the Argentina release has a more warm sound like it has been captured on nearly all audience recordings of the tour.Quote
StonedRamblerThe mix is so bad it's really unbelievable. Wild Horses sounds like he's singing through a telephone. And not even a good one.Quote
Irix
5-Track digital EP:
1. Sympathy For The Devil (Live) - 8:01
2. Wild Horses (Live) - 5:37
3. You Got Me Rocking (Live) - 3:34
4. Happy (Live) - 3:54
5. Rough Justice (Live) - 3:34
[Music.Apple.com] , [www.Qobuz.com]
Strangely enough, the Salt Lake mix seems actually quite good.
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henrik87
Maybe it's due to the source material though it's hard to believe that a concert is recorded differently to others from the same tour (same mics, same amps etc).
But compare Bremen 98 to other BtB shows. The TV broadcast also sounded quite sharp and metallic. Others like Chicago, Buenos Aires etc. got a more warm sound. Though the mix of Bridges to Bremen is different to the broadcast it has got the same sharp sound whereas the Argentina release has a more warm sound like it has been captured on nearly all audience recordings of the tour.
An acoustic guitar has lots of high frequencies whereas electric guitar amps cut off everything above 10Khz. Therefore you cut off all the high frequencies (like Sam Wheat did on this mix) of an acoustic guitar recording it will kinda sound like an electric guitar.Quote
RollingTbilisiStones
wild horse from original and from this new mix is so different that it's like from other show where Keith plays electric guitar, what they did with the acoustic guitar or Keith's back vocal, even on old version U can hear blonde' acoustik guitar, or this dude on mix is magician or no idea.