I have just listened to the new stereo CD - this is a gorgeous representation of this immortal material. One of the better if not very good re-issues IMHO. The vinyl might be even better, in fact I have many of the 12 track stereo versions (probably more than 10 copies) but none plays really without or with minimal surface noise. The new double LP does and that is a relevation in its own right! (my theory is that this album is simply too long to fit well on a single stereo LP - I have a also a couple of 10 track stereo versions - mostly US pressings - and these are better than the 12 track stereo versions with respect to surface noise)
LOVE the MONO mix. first time hearing it. Is the vinyl at 45 speed? was hoping the 2nd disc was the mono mix..
Just downloaded the HD Deluxe version from ProStudioMasters.com. Man, I forgot how fun it is to buy from these cats. Hooooweee!! Amazon's 2-day Prime? Naaa... How about 30 seconds and it's in on!!!! (wipes drool)
Listening to the Stereo first... the mono's been my standard since the MoFi CD back in ought-9. It's different. The stereo versions I've heard are more spread. Wet. Spongier. But this is nice. Clear. Dry. Since the mono is so imprinted on my brain, I'm not the best judge... but it feels controlled, like how the mono is. There's no need to compare the mono-to-stereo, since they're different animals -- different photographs of these amazing performances.
It's A Lonesome Old Town.... always loved the creepiness of this one!!! I'm digging the new stereo mix since I feel like it has a more intimate closeness, which always fits well for me. The whole mix sort of echoes the Sinatra/Riddle Wee Small Hours vibe a bit. I love that vibe personally. I don't have a problem with the big wide orchestral vibe either -- just saying it's neat to echo Wee Small Hours. God, I love that record.
My Fisher is sounding so stunning this evening and I was planning on doing more shoot-outs with other pressing, yet I simply ended up playing the new Stereo LP 3 times in a row---it's simply gorgeous!!
Yes. I haven't given the mono a real proper listen, but what I've heard, I've really liked so far (caveat: this is my first mono OTL).
I’m not OK with it. I’ll take the warm sounding version of this album over a more detailed, “modern “ version. Still waiting for certain people to review this before opting to buy yet another copy.
Listening to the stereo CD; only about 4 minutes in. I don't think this is a "stereo remix" in the sense that we assumed, at least not on the little bit I've heard. I'm pretty sure it's (primarily) a digital remix using these elements: •tracks 1 and 3 from the 3-track tape (in other words: no vocal track, just the wide/high stereo orchestral mics) •The mono recording (vocal, mono reverb, plus close-miked instruments) in the center (I have not read the liner notes yet. Does this sort of thing get mentioned? Is so, forgive me for stating the obvious!) Because the instruments are miked differently in mono and stereo, it's actually not all that tough to pull off. Had the same mic array been used on the stereo and mono version for the instruments, a new level of trickiness would be reached to make this work.
wow that's interesting. So this may explain why folks are reporting the vocals being louder and more present. Similar to how they sound in the mono recording.
Kudos to Walsh & Co. for leaving the "heartbeat" bass drum effect intact on What's New. No bass rolloff on those omnis! Sounds like there's some tape damage (or poor playback) on sections of that song on the 3-track, but it's fairly minor, i.e, tape not sitting flat as it passes over the heads, making the oboe (or English Horn) wander around during the little solo part.
Yes, that was mentioned on an earlier post. Was this because that's how he was placed on the studio stage?
Then that's a screw up of the mastering team. First Larry Walsh failed to recreate the wandering Frank at the end of the album and now this...
Well....that may be a bit harsh. There's enough trickery-pokery going on here that it's hard to rule out some sort of balance issue making the reissue team lean that way. Who's to say. I'll cut him some slack. By the way, if you want to hear evidence that the mono track is serving as the "center track" here, there's no better spot than "From Naches to Mobile; from Memphis to St. Joe." Focus on the reverb, then play your mono mix version. Same reverb.
I am away from home (in Kansas, currently), so I don't have my usual stash of other versions to reference, but I'm 99% sure there's a timing hiccup (tapes out of sync or something???) at 2:29 in Spring Is Here. Start a few seconds before that, and listen to the bass pizzicati. The second one is late, and I don't think that has historically been the case. (I may be wrong. Has there always been a splice there that I'm forgetting?)
I love the way the strings creep in midway through that song. As if the character is struck by the realization that life is beautiful no matter how lonely it gets.
I only had time to skim the new stereo CD and after listening to the title track, What's New and Guess I'll Hang My Tears Out To Dry, I went right to One For My Baby and both of your comments are reflective of my feelings as well. Those strings just add some depth and so compliment that haunting and truly stupendous piano playing by the legendary Bill Miller. When you play the test run through of One For My Baby without the strings it is fantastic, but it reaches the iconic status with the addition of Riddle's magnificent string arrangement.
