If the approach for vinyl that they used for the Out Of Time set is any indication, the prospect for this isn't good. I think the consensus here was that was cut from brickwalled digital files. I don't have an original pressing to compare to, but I was not knocked out by the sound on my copy.
Yeah that doesn't sound promising at all. Such a shame, this album would sound so so great with a true quality AAA mastering/pressing. At least the CD sounds really good for what it is.
Pretty sure Auto had elements of digital recording and or mixing from what I've read over the years. The DVD-A having a cut-off at 48 is a good clue.
Oh, quite possible a DVD/Blu-Ray disc... I see. Count me in. I've always been a sucker for this album.
@musictoad Not taking a stab, I love this album. Kind of reinvigorated my interest in REM when it was released. I'd love to have confirmation this was a AAA recording, and agree I'd buy it in a heartbeat if re-released this way . With run of the mill re-issues i've kind of lost faith.
The Out of Time Reissue/remaster LP was absolutely horrible. I sent it back after one listen. I used to own the original US AFTP and it was superb and sounded like AAA recording. We can only hope this will just simply be a reissue and not anything else.
Oh you're good, I didn't take it that way, I'm glad you mentioned it. I'm not surprised actually, considering when it was recorded.
According to the timeline, this is Try Not To Breathe. 8 June - 10 July 1992 - Bad Animals, Seattle, WA tracks recorded included: 10 June - C To D Slide (Man On The Moon) 13 June - Drive 17 June - Passion (Try Not To Breathe) other tracks recorded included: Star Me Kitten notes: Mixing Sessions for 'Automatic For The People'. Contrary to popular belief, the mixed version created on 10 June 1992 for 'Man On The Moon' had complete lyrics refuting the legend that it wasn't all written and sung until the last day of mixing.
This reissue is pretty exciting, and the Monster and NAIHF ones should be as well. Nothing ever really leaked from the Monster sessions, and the band had a good bunch of outtakes for NAIHF.
Dolby Atmos is based around the concept of "audio objects," which are isolated sound elements stored with positioning metadata. Theater implementations can have up to 64 discrete speakers, which would include two rows of overhead speakers running from the front to the back of the theater. The position of an "audio object" is not fixed to any individual channel, it is sent to the best available position within any given speaker layout to achieve the closest representation of an Atmos mix. In the home theater, Atmos data is adapted to spatial encoding carried within the established audio formats (like Dolby True HD), and can only be output to 34 speakers max (10 overhead speakers). I experienced this in a theater with the film Baby Driver and the capabilities are intriguing, though I'm not sure if music mixes are the most natural use of the technology. The 50th anniversary remix of the Beatles' Sgt. Pepper's Lonely Hearts Club Band was showcased in a handful of theaters with an Atmos mix, but since it was such a limited event, I never heard it, nor do I know whether the technology added anything to the experience.
Just need to mention that I have piles of Alsdorf pressed US artists' vinyl and frankly the majority seriously differs from originals. Since early 80s Alsdorf is known for performance with varied success. The only exception to my experience is Precision Lab cut LPs released in between 1991 and 1995 - by some weird reason all of them been repressed in Germany like sonic paradise.
What is big talk? Any guesses on Monty, Nightswimming(Mike's Pop?), Winged Mammel Theme, Organ Song, Mandolin Strum, NOLA #1 and NOLA#2.
I wonder if we'll get another 3 LP release this time around. And if so, will it be the live show or the demos as the extra discs?
The official store has various packages up now: US - R.E.M. Official Store UK - R.E.M. UK Store Looks like there's no 3 LP version this time around. Video "trailer":
I love Photograph, but they had trouble finishing the arrangement until they were asked to do the Born To Choose comp and asked Natalie Merchant if she could finish it off (which she did to great effect). I am very excited to hear the demos especially "The Devil Rides Backwards On A Horse Named Maybe", the existence of which we've been taunted with for years.
I know there is a lot of love out there for this phase of REM (including an old friend of mine who credited this record with keeping him alive during a nervous breakdown) but this is where, to me, the band morphed into something else entirely and I started to drift away. I think I am in the minority among fans of the band in this.