My copy had a pop during Pigs but it was due to a piece of gunk on the surface I was able to remove with a fingernail.
I posted upthread about being awed by the complexity of Nicks Tom-tom work during this part. On next listen I will pay more attention to Davids bass work.
Just go to your preferred streaming site and search “anubis gate back in black”. It should be everywhere.
cool! Back in Black turned into Sheep and R&D throw in a bit of Run Like Hell & Short and Sweet for good measure, - mix it up with DG's Cry from the street (the coda) - then cross-fade with RWa's Picture Yourself. Serve chilled.
I am on my second copy of this, I haven't had a chance to listen to the second one yet but the first one was unacceptably noisy throughout and particularly at the beginning of each side. If the second one is as bad I will return that and give up. I'm not a serial returner either, I have only ever returned one other LP which was an MFSL Eric Clapton unplugged.
I meant: Picture That. but now that I think more about it, @Kim Olesen, you could consider a live medley that also includes Anathema's Pulled under at 2000 metres a second: https://www.youtube.com/clip/UgkxLPD5Ldr6dw-c23bEJ44FreV5d_jUkKAo another example of Sheep's legacy.
In this day and age preferring to turn it up rather than down is considered a good thing. It's not bricked or maxed thank goodness.
I’m loving the SACD. Popped on the 5.1 mix, and loved it, now listening to the stereo layer. Very, very pleased.
Now we need the 5.1's of Meddle and The Wall to be released, along with the full '74 Wembley show and a cleaned up soundboard from '77. Doesn't seem like too much to ask .......
That was not a remix project (well, apart from the tiny bit added to the end of "Us & Them" with the delays continuing over backwards piano), mostly just some editing and cross-fades. Considering the primary release format was initially CD (not that they didn't do analogue cassettes or vinyl upon release, these were just far less widespread in the 2001-era market) digital was given precedence and I think in all cases the production master was hi-res digital Amused to Death was recorded over multiple studios in multiple tape formats including multi-track digital. I believe he re-transferred everything back to analogue so it could stay in that domain during the mix
Valid points. I was looking for any JG interviews or articles about his process or das boot or mention of specific gear. In an attempt to devise how likely it is that the 2018 remix was done in the analogue domain (and to what extent). /
I wonder what it would sound like (or if it would even be possible) if you were to cue up 5.1 on a surround system and the original mix on a 2-channel system and play them at the same time (I'm assuming that both versions have the same running time). That way, with the versions overlaid, you'd get the improved instrument clarity of the 2018 mix AND still be able to hear the stuff that's changed/missing (cowbell, vocoder) in the original release. It would probably sound like a horrible mess, but it's an interesting thought experiment.
They are from different analogue sources so the speed fluctuation alone would make it sound all phased and warbly
Commenting on the stereo remix (via CD): I do not understand how they ever let the original mix be released. I think 2018 is an improvement in every single way. Wow.
I canceled my order for the deluxe and grabbed the vinyl with booklet and the SACD from acoustic sounds instead. Arrived today. The vinyl is the worst new vinyl I've ever received. Side 1 was somewhat listenable despite the recurring pops and ticks, most annoyingly on the quiet lead in. But then I flipped it over to side 2 and saw this. Of course, didn't bother playing it. And now I have to deal with AS's relatively involved return instead of the easy amazon one. Ugh. Bigger problems in the world, certianly, but hate when your anticipation gets crapped on.