Venus And Mars was a huge disappointment to me as far as sound goes. The main album tracks sounded no better than the muddy mess we have had all along. The bonus material sounded amazing though.
I agree, I felt a bit more clarity on the Venus and Mars box but nowhere near what I was hoping for. It was almost like the whole album was recorded with blankets on the mikes!!!
The amazing thing is that I was able to make an amazing improvement in the sound by readjusting the EQ using a free program (Audacity), yet MPL put out that muffled mess to the masses and was seemingly proud of the so-called improvement. They HAD to know it sounded bad. I don't understand it. At least RRS sounded great!
Once more, with feeling.... It's supposed to sound murky. It is recorded in New Orleans. Swampy... One of the reasons we always loved the Letting Go single mix was that it made the guitars a bit louder and the overall sound sharper. But that's not how the album was mixed. It just is what it is. It's like complaining about the drum sound on Band On The Run. It's never gonna change so ...
Okay, Night Out is probably quite loud, but I didn’t question it really because it’s a loud track. Ignoring this, the rest of the album (comparing non album and album tracks) seem to match up happy, without a more compressed wave form.
I like the way Venus and Mars sounds. It evokes an atmosphere and a mood. It isn't supposed to be antiseptic. The murk is a feature, not a bug.
I don't think the murky mix was intentional. Anyhow, this is not swampy music to begin with. One of the oddest mixing/sound sequences ever is in the final chorus of Listen To What The Man Said where the Wings/Brady Kids vocals overwhelm nearly the entire track. It is the strangest thing. Anyhow - I'd vote for a V&M remix over any other PM album. Its a good one with some songs aching to breathe a bit - I mean just listen to how much better the WOA versions sound in comparison.
He's Paul McCartney, noted perfectionist. You think he ever released anything that didn't sound the way he intended it to? How many takes of Maxwell's Silver Hammer did he subject everyone to? But suddenly, on the heels of a major achievement in and momentum from Band on the Run, and on the cusp of launching his first world tour, he just tossed something out without making sure it sounded the way he wanted it to? No. I believe I've read here that when the DCC remaster was being done, Steve offered to remix it from the multitrack tapes to "correct" the sound ("correct" is my paraphrase, not his characterization) and was told no. Maybe I'm mixing that up with something else, but I don't think I am. It's supposed to sound that way. The album has darker themes than usual. It's got a darker tone than usual. It's got a darker sound than usual. Edit to Add: Here's a retelling of what I'm remembering regarding the DCC. Haven't found the original source yet, but I'm sure it's around here if you want to search for it.
Reminds me of people who claim Bowie's 1973 back in the mix Watch That Man vocals were some kind of error. Fair enough to wish they weren't recessed, but it's obviously not a mistake: the opening track on his first post-hitting-the-big-time album sounded exactly how Bowie wanted it to at that time
My guess was that he was so stoned during the mixing of V&M that he didn't care what it sounded like. Perhaps the engineers were baked too. Anyway, the sound is sonically bad. No amount of excuses or logic Paul dishes out can overcome that. It is in dire need of a remixing...period! Perhaps some day...
Listen to how much better the early mix of Rock Show sounded than the album. Picture the whole album sounding like that.
Thanks for your feedback FJFP...I appreciate your opinion and the information about the waveform and any added or different compression from track to track.... I'm going to make some minor adjustments to some tracks and see how it all comes out.... Thanks again.
Exactly! This proves the album wasn't recorded with carpets draped over the mics like the final album mastering sounds. Imagine if V&M sounded as clean and clear as Speed Of Sound!
Mr Hoffman's remaster of RRS knocks spots of any others, notably the new version. Play Big Barn Bed back to back and see what I mean. Have to get Mr H's V&M to see if he was able to work his magic there.
Clarity does not have to mean antiseptic..........I "get" the mood and love the album......as someone once said on Wings Wild Life album liner notes "Can You Dig It"?????
So I picked up a second copy of the double vinyl RRS....and I am hearing the same issues as with the one I sent back. Does anyone else get excessive crackle on the likes of ‘Mama’s Little Girl’ and ‘Little Lamb Dragonfly’ (amongst others)? It’s almost like some sort of groove damage or something, sounds like the music distorts at certain points? Seems so weird to have it on both copies I have had. I’m going to run it through the VPI and see if that clears it up any. I’ve been listening to a bunch of other records tonight, it’s definitely something specific to this album.
Maybe the crackles and pops were intentional in order to give a sense of authenticity to the vinyl...which is how all my records sounded after only a few weeks of playing them in the 1970s. Seriously, I hope you get that ironed out. That is the main reason why I embraced CDs so quickly! I can still hear in my head every skip, pop, crackle, and distortion of my old Beatles and Wings albums. ;-)
There is a definite "crackle" in "Tragedy" that I mentioned previously, and which no one could explain. It's on the digital, so it's not a vinyl defect.
Like almost everyone else I sent back my Wild Life LP so I searched for a 1971 original and I got it yesterday. The vocals on Some People Never Know are the best I have heard, actually all the vocals. But the record is not a NM or M- as advertised, way to much rice crispies and pops. Back to the drawing board.
I'm a little surprised at the lack of effort from fellow forum members to get the correct unlimited files for this release. I guess y'all like the limited downloads.
