Well it's understandable that those who bought this expensive box talk themselves into the opinion that this sounds superb..
Or...it could be that the much more basic explanation is true. That is: it actually (really and truly) does sound fine to some of us...like me, for example. I've been a big Chicago fan since summer 1969. I've owned Carnegie Hall in several different configurations over the years, including the original vinyl. From what I've heard in the preview tracks, I'm going to enjoy this new production. Really.
Just arrived, and just back off to work. Probably be weekend before I get the chance to play it for the neighbours.....
The organ pretty much disappears in the new mix. Of course it doesn't seem to be the same version though.
You do know that you really don't need to justify your opinion or taste to any of these so-called experts, right?
Ouch. Just heard this on my iPhone and boy does it sound squashed but also brittle. The horns have a weird fuzzy distortion on them and the vocals seem so far away and unintelligible. And what’s up with the hiss level jumping all over the place? It’s not gradual either - it’s like a gate has been left on with too hard of a threshold (sorry for the tech talk haha) It sounds atrocious but now I want to hear this in my studio. Wish. Me. Luck.
I am quite intrigued so far. I like the rawness of the mixes so far. Thinking of pulling the trigger on this.
I'm still thinking the upsampling is what's futzed it up. From Jessup's website. "...the mixing facility is set-up for both large scale music mixes with hundreds of audio tracks, or up to 64 tracks at 192 kHz 32 Bit in HD." Maybe just too much?
FYI, upsampling is taking a digital recording and converting it to a higher sampling rate. For example, 44.1kHz to 96kHz. That is essentially a transparent process, and it not at play here regardless. Presumably you're referring to this: "What began as a 16-track recording was eventually spread across about 42 channels on the SSL desk. Four original drum tracks became 12 tracks in the mix, including gated and parallel compression channels, blended into the original drum tracks, to bring out the power and tonal definition of Danny Seraphine’s performances." That's not upsampling, but it basically did allow Jessup to process everything to within an inch of its life, which is the issue.
Yeah. Thanks...and I usually don't. But on this one the criticism strikes me as unusually unjustified.
There is so much processing on these tracks it's distracting. And the gating is really annoying. This music has no room to breath. I'm no technical expert, not even close, but it sounds like things are being muted as soon as they are done being heard, which is effecting the hiss levels and the natural sound of the recording. Is that the gating I'm hearing? I love the performance of "Elegy", fantastic, but the sound makes it hard to listen to. The horns have never sounded great on the Carnegie Hall set but they really have a brittle distorted sound to them now.
Jessup is not an audiophile. He knows how to operate the HW and SW but he doesn't have golden ears. It's that simple.
It may well be interesting to some, but my opinion has absolutely nothing to do with what "most consider" to be true.
I’ve just started listening to this, and I thought somehow my system had gotten messed up, but the sound on the first disc is really not good. Harsh, no mids, the low end sounds like it’s been shrunk to next to nothing. I’m listening on a Cambridge Audio CD player > Sonos Amp > Kef Q350 speakers. I can’t recall the last time I’ve heard a CD that sounds like this.
I didn't know it was possible to make a live album sound like a home demo recorded on AliExpress USB microphones. I think a 1969 Pontiac GTO convertible is the ideal listening space for this release, put the top down and the engine noise will drown out most of the audio.
I'm no expert but this approach sounds like it guarantees a crappy job, if accurate. Excerpt from an interview with Jessup re: The Isle Of Wight release. -----> "Long story short, they asked me to mix the project, but I would have only five days to mix the entire 26 song set before delivery. I told Lee that it was likely not possible to properly mix 26 songs in only five days and that they would probably be wasting their money to try. Lee was willing to roll the dice and asked me if I’d be willing to give it my best try. I literally did not sleep for five days, editing and mixing continuously right up to the manufacturing deadline.....I re-mixed the entire show five times." But then later he says "Isle of Wight required nearly three months to mix.." Well?? Boy, the more I read this interview, the more light is shed(likely) on the sound of the Carnegie set. Good god...Interview with Tim Jessup, Mix Engineer of Chicago Live at Isle of Wight on VI Decades Live. By: Stephanie L. Carta
