Surrounded On Sundays - 5.1/quad reviews and summaries

I understand completely mate... I don't know what the future holds for music in reality, I guess it is streaming, but I don't really want to stream.
I was terribly lucky to get this for a wrongly marked price ... but to be honest, I would have probably bought it even if I hadn't got the lucky break.

 

Dont hold ur breath on "streaming atmos" as i sincerely doubt it...streaming 2 channel into an echo mono/stereo pos speaker i dont think will EVER compare to a real discreet mix on a bluray or sacd played thru a real speaker system....maybe 20 years from now...and in that case most of us here will be long gone or will have long lost our hearing by then

 

Dolby Atmos Music Will Make Its Streaming Debut on Amazon Music HD | Digital Trends

Edit: I see from your mention of Echo that you know about this, but I give them a year to have a viable system of delivery.

 

"Dolby seems to somewhat vague"

I'll believe it when its actually heard...till then consider me a skeptic...

 

The 2011 Japanese MultichanneL SACD is in our Classifieds - $28 shipped https://forums.stevehoffman.tv/threads/deep-purple-machine-head-sacd.870212/#post-22270194

I have this one, and love it.

I had the EU 2003, but needed cash back in 2010, bear in mind it cost me a normal amount.
This was my first-ever sale on eBay, and not long after listing it, 2 guys got into a bidding war. It finally ended at around $130.00. I was in shock, until my buyer thanked me profusely after winning, and again, after receiving. Seems he was chasing one forever, and this had made his life. Of course after I recovered financially, I replaced it with the Japanese 2011, which is still here.

 

Nice. Definitely worth grabbing folks

 

First time I played Smoke On The Water for my oldest grandson, in 5.1, I might add, he really liked it !!! He's 12 now, we should revisit that.

 

I re-listened to Abbey Road 5.1 today for the second time, trying to be critical but also just enjoy it rather than get too involved in mistakes or sound quality. I still think it is a good, immersive mix, best of the 3 surrounds so far. The sound on the bluray (mine worked) is clean and smooth.

Beyond the (mainly minor) mistakes or omissions I enjoyed the many different aspects of the remix, such as the background vocals being turned up (best used in Oh Darling!). The little guitar string slide going into the verse on Come Together; the exquisite Sun King, formally just a filler track, transformed nicely. Here Comes The Sun with the centered vocal...the orchestra folding into the finale of The End (a bit of a gooseflesh moment)...definitely there are things in the 5.1 I did not hear in the cd remix proper.

There are elements of shade in the mix...the drums in I Want You are too buried, the white noise is not as well defined as on the original and the ending just seems softer somehow. The beginning of the solo on Something is startling with the distortion and muffled guitar tone.

But even with those distinctions I find the remix and especially the 5.1 (the best way to hear it, for sure) very good, and worth the somewhat inflated price we paid for it.

 

If one likes Pale Communion, make sure you also get the previous album, Heritage. While Pale Communion is probably a more cohesive album, Heritage also sports the 'clean' vocals and has a good surround mix. It can be had for cheap so there is really nothing to lose.

Another recommendation is Opeth's 2016 combo platter, Deliverance & Damnation. The first album mixed by Bruce Soord (The Pinapple Thief) and the second by Steven Wilson. I always get these mixed up, but I believe Deliverance has the growls and Damnation has the clean vocals. The distinction is important as I also don't like growls. The vocals have to be fairly clean.

 

The Dark Side of the Moon


Studio album by
Pink Floyd
Released 1 March 1973
Recorded June 1972 – January 1973
Studio Abbey Road Studios, London
Genre Progressive rock
Length 42:32
Label Harvest
Producer Pink Floyd

The Dark Side of the Moon is the eighth studio album by English rock band Pink Floyd, released on 1 March 1973 by Harvest Records. Primarily developed during live performances, the band premiered an early version of the record several months before recording began. New material was recorded in two sessions in 1972 and 1973 at Abbey Road Studios in London.

Following Meddle in 1971, Pink Floyd assembled for a tour of Britain, Japan and the United States in December of that year. In a band meeting at drummer Nick Mason's home in Camden, bassist Roger Waters proposed that a new album could form part of the tour. Waters' idea was for an album that dealt with things that "make people mad", focusing on the pressures faced by the band during their arduous lifestyle, and dealing with the apparent mental problems suffered by former band member Syd Barrett.[1][2]

Dark Side of the Moon: A Piece for Assorted Lunatics, as it was then known,[3] was performed in the presence of an assembled press on 17 February 1972 – more than a year before its release – at the Rainbow Theatre, and was critically acclaimed.[14] Michael Wale of The Times described the piece as "bringing tears to the eyes. It was so completely understanding and musically questioning."[15] Derek Jewell of The Sunday Times wrote "The ambition of the Floyd's artistic intention is now vast."[12] Melody Maker was less enthusiastic: "Musically, there were some great ideas, but the sound effects often left me wondering if I was in a bird-cage at London zoo."[16] The following tour was praised by the public. The new material was performed in the same order in which it was eventually recorded; differences included the lack of synthesizers in tracks such as "On the Run", and Bible readings replaced by Clare Torry's vocals on "The Great Gig in the Sky".[14]

The Dark Side of the Moon - Wikipedia There are a lot of interesting things in this wiki article, and perhaps one of our more informed folks can let us know if they are actually true. I know wiki can be notoriously off the mark sometimes, but a bit of background can be interesting sometimes. @rontoon can probably let us know if the info is correct, if he has the time or information.

Pink Floyd

• David Gilmour – vocals, guitars, Synthi AKS
• Nick Mason – drums, percussion, tape effects
• Richard Wright – organ (Hammond and Farfisa), piano, electric piano (Wurlitzer, Rhodes), EMS VCS 3, Synthi AKS, vocals
• Roger Waters – bass guitar, vocals, VCS 3, tape effects

Additional musicians

• Dick Parry – saxophone on "Us and Them" and "Money"
• Clare Torry – vocals on "The Great Gig in the Sky"
• Doris Troy – backing vocals
• Lesley Duncan – backing vocals
• Liza Strike – backing vocals
• Barry St. John – backing vocals

Production

• Alan Parsons – engineering
• Peter James – assistant (incorrectly identified as "Peter Jones" on first US pressings of the LP)
• Chris Thomas – mix supervisor

Design

• Hipgnosis – sleeve design, photography
• George Hardie – sleeve art, stickers art

All lyrics are written by Roger Waters.

1. "Speak to Me" Mason instrumental 1:13
2. "Breathe" (listed as "Breathe in the Air" on the original LP label) Waters Gilmour Wright
Vocals - Gilmour 2:43
3. "On the Run" Waters Gilmour
instrumental 3:36
4. "Time" (containing "Breathe (Reprise)") Waters Gilmour Wright Mason
Vocals - Gilmour Wright
6:53
5. "The Great Gig in the Sky" Wright Clare Torry[nb 9]
Vocals - Clare Torry 4:36
6. "Money" Waters
Vocals - Gilmour 6:23
7. "Us and Them" Waters Wright
Vocals - Gilmour 7:49
8. "Any Colour You Like" Gilmour Mason Wright
instrumental 3:26
9. "Brain Damage" Waters
Vocals - Waters 3:49
10-. "Eclipse" (contains Ticket to Ride snippet) Waters
Vocals - Waters 2:03
-----------------------------------------------------------------
This is one of the most remarkable albums of the rock era. Every bit as influential as any album you could care to name, and for an album as experimental as it was, incredibly successful.
This album was released in 1973, and was still on the album charts at least ten years later when I was about to enter the workforce. At one stage it was the album that had been on the charts longer than any other album in history... I don't know if that is still the same, but at one point that was the scenario.
I guess most folks know about Pink Floyd, but they don't seem to get the constant exposure that the Beatles do, so for anybody unaware I'll put down a few bits and pieces.
Floyd were one of the early Psychedelic bands, and with original singer and guitarist Syd Barrett they performed a lot of long instrumental pieces, and had a big live reputation.
Formed by Waters and Mason around 1963, they initially were a rhythm and blues band. In 1964 Barrett joined the band. Barrett had been a childhood friend of Waters, and Waters used to got o his house and watch him play. In 65 Barrett became the front man, as the natural movement of members in and out started to give the band some form.
The band's name came from two blues artists in Barrett's collection Pink Anderson and Floyd Council.
By 66 the R&B songs started disappearing and Barrett's originals were making it into the set. By 67 the band had started getting some attention, and ended up recording Arnold Layne and getting signed to EMI.
67 also saw the release of the band's debut album, Piper At The Gates Of Dawn, but sadly Barrett had started to have some form of mental breakdown, and despite efforts to do something about this by the band, Barrett ended up falling further into bizarreness. On the band's first tour of the US, Barrett basically refused to speak to interviewers on shows such as Dick Clark and Pat Boone tv shows, which made management pull them from the tour. The band supported Hendrix' tour, but things got so bad they ended up adding a new member.
In December 67 Dave Gilmour was added as the fifth member. Gilmour already knew Barrett from their Tech school, and actually used to perform together during lunch breaks.
By early 68 things had come to a head, and to cut a long story short, Barrett agreed to leave the band, and the band became the four piece that went on to conquer the music world of the seventies.
The band were known for their long, jam style pieces, and also obviously for the many classic albums they released. By the time they came to the idea of Dark Side, they had decided to record some more concise songs, and also write some more direct lyrics, and the cult band of the sixties became the supergroup of the seventies.
I discovered Pink Floyd in 1983, at about 14 or 15. I purchased The Final Cut, and found it absolutely mesemerising, to this day I still think it is a magnificent album. I have heard Another Brick In The Wall obviously, because being at school during the 79-83 period, it was hard to avoid, but i knew nothing of the band ... through radio and randomly purchasing albums the way I did, I became more familiar with the band, and bought Dark Side and The Wall, and for the longest time they were my favourite albums, because they were so different to the music I was used to listening to, and it was somewhat like reading a book, and entering a story, rather than just listening to a few songs. The band had an immeasurable effect on my musical direction, and listening habits. I ended up buying an album box set, and discovered all their earlier work, and was quite surprised at where they had come from ... but anyway ...

Dark Side was released in Quadrophonic also, and everyone but Wright boycotted the press release for the album, because the Quad mix was not completed yet. So if anyone ever tells you Floyd album shouldn't be in surround, well they just don't know enough about the band.

I find it hard to rate albums, because I just love too much music, but this is one of my favourite albums of all time.

I did not get the Immersion set, so I do not have the quad mix, I have the initial sacd 5.1, and many folks say the quad mix is better. If someone has the quad mix, I would love you to do a full and proper write up of it for us please. That would be appreciated.
This album certainly helped the careers of Pink Floyd, but also Alan Parsons, Chris Thomas certainly didn't suffer because of their involvement.

The sacd is available from Amazon second hand from about $15 https://www.amazon.com/dp/B00008CLO...qmt=e&hvbmt=be&hvdev=c&ref=pd_sl_4m6m3bs6ku_e
Also Discogs from about $13 Pink Floyd - The Dark Side Of The Moon
The sacd is actually about to be re-released and is available for pre-order from acoustic sounds for $35 ... I assume others will have it, and I am not sure of the actual release date, but at least someone is re-releasing these Pink Floyd-Dark Side Of The Moon-Hybrid Multichannel SACD|Acoustic Sounds

5.1 Mix James Guthrie
Mastering Doug Sax and James Guthrie

This is one of the surround mixes I have heard enough to say that I know I like it, but yet again it has been a while since I got to have a listen to it, so I am really looking forward to this. At the moment, aside from when I get some spare time at home, you guys somewhat control what I get to listen to in surround, and thanks for picking this

Speak to Me
For those unaware this is an instrumental track, and somewhat a psychedelic overture, from old Floyd to seventies Floyd.
We start with a slow smoothly rising heartbeat that has good sub presence.
The band were using tape effects and recorded sounds and we get the cash registers from Money, some spoken word bits, and then a really nice synth effect similar to something from On The Run, which moves from the front, slowly to the back. This all culminates in the wonderful disturbed yelling of somebody (that used to be my morning alarm sound, because it is so apt, in terms of how getting up at four makes me feel lol) and leads us into...

Breathe
This is magnificently dreamy, and we have the somewhat jangley guitar left, and the higher pitched slide come from the right.
The balance is perfect.
The bass sounds wonderful and is aided by the sub.
This was a masterful piece of recording and studio work .

On The Run
This track is a somewhat elongated segue between breathe and time. It certainly points back in terms of its psychedelic style, and forward in terms of its technical, and I presume, state of the art use of synths to create a soundscape.
We have synth effects bouncing from side to side, footsteps running around the field, airport style announcements, and swelling, droning, fat synths sounds moving from side to side and around us, and it really brings the track into perspective.
I can't help but feel the band was thinking of quad at the time they put this down.
We have psychotic laughter sliding around, and then more running and then...

Time/Breathe (reprise)
We become surrounded by various ticking clocks, and their alarms all go off at the same time and then this magnificent piece of music starts.
The drum intro with the synth and guitar is and always has been stunning.
Synth swell all round, tinkly keys to the left. The drums covering a wide field from far right to just left.
Guitar left, Keys right, bvox all round.
The lead guitar with Gilmour's signature sound has a wonderful presence, with effect send out to the rears.
This really does sound magnificent, and even if the quad is better? This is easier to get, and my preferred listening experience.
The Breathe reprise holds the mix as it was in time which leads into

Great Gig In the Sky
The piano starts off up front and Gilmour's slide seems to aptly slide around the soundfield... and then those vocals!
I still love this. Clare Torry's vocals really do send this track over the top, and when I first heard them, I was stunned by them, and still find them to be one of the most magnificent pieces of vocalizing ever recorded.
Obviously we have little tape inserts of people speaking pop up here and there, taking different spots in the soundfield.
This is mesmerizing with or without surround, but it works beautifully in surround.

Money
The cash registers are are all around the field and sound great.
Comp rhythm gtr left, delay/vibrato guitar up front, keys right.
This is a solid mix, with a balance and consistency that really embellishes the continuous flow of the album.
Sax up front with rear effects sends .... and then Dave hits it ... ip front, with rears effects sends.
I think radio play has diminished this song over the years, but it shouldn't have, it is a masterful pieces of writing, playing, recording, mixing and producing.
The second explosion of guitar cuts through the middle of the head beautifully.
Spoken inserts all around and very effective. Then we move into the beautiful

Us And them
With synth chords sitting for the guitar arpeggios to float on top of.
To be unpredictable the song starts with a sax lead break on top of the beautiful bed created by the synth a guitar.
Let's not forget Mason's tasteful drumming either.
The delay on the vocal slides to the rears, the backing vocals swell in the rears.
Again this is quite magnificent, and this immersive dreamscape is so very wonderful to sit inside.
And slide into

Any Colour You Like
Another instrumental with the synth carrying delays from front to rears now, as we get the rhythm guitar sitting up front and tastefully chunking away with a phaser? And wah?
Then we get a burst of guitar, that end up being two guitars playing off each other rhythmically, and moves into a more standard lead just left, with a guitar coming on the right side. Then those wonderful delay synth tones come back and slide into

Brain Damage
Bass up front gtr in the rears. The slide/bent notes feel like they slide between the rears somewhat.
When the beat kick in, the organ swells across the middle of the field.
Bvox either side. Laughter slides from front left to rear left.
We get a short synth section across the middle with spoken inserts and laughter bouncing around the field and we explode into

Eclipse
The mix stays constant and the transition is brilliant and flawless. Wonderful female backing vocal in the rears.
There is a swelling of sound and intensity that really Carrie's the listener in
We get the heartbeat start, return to finish, with the famous quote in the left rear, and we are gently moved out of the experience in brilliant fashion.

No matter how you listen to this album, it is magnificent, from every possible perspective one can imagine, but to me the surround mix enhances that a lot. It really is like one is wearing some magic headphones, and I consider this one of the essential albums of all time, no matter how hyped it may have been over the decades, this album is magnificent, and overexposure to some degree seems to taint that, but it really is every good thing ever said about it.
I really would like someone to give us a run down of the quad mix. I have done my best to share how it feels to me to listen to the 5.1, and like always my confidence in my old ears isn't all it should be, but this album really is, and this mix, to me at least, is wonderful.

 

Sunburst Finish

Studio album by
Be-Bop Deluxe
Released February 1976
Genre Art rock progressive rock
Length 39:47
Label Harvest
Producer John Leckie Bill Nelson

Sunburst Finish is the third studio album by art rock band Be-Bop Deluxe, released in February 1976.[1] It was recorded in Abbey Road Studios, London.[2]

The album contains what would become one of their few forays into chart success; the February 1976 single "Ships in the Night", which reached number 23 in the UK Singles Charts.

Keyboardist Andy Clark, who had served as a temporary member during Be-Bop Deluxe's 1975 Futurama tour, joined the band as a full member for this album. He remained until the band was dissolved by Bill Nelson in 1978 and would be the only member of Be-Bop Deluxe apart from Bill Nelson to become part of Bill Nelson's Red Noise.

The album marked the production debut of John Leckie, who would later produce artists such as Simple Minds, The Stone Roses and Radiohead.[3]

• Bill Nelson - electric and 12-string guitars, lead vocals
• Andy Clark - keyboards, synthesizer
• Charlie Tumahai - bass guitar, backing vocals
• Simon Fox - drums
• Ian Nelson – alto saxophone (track 3)[4]

All songs written by Bill Nelson

1. "Fair Exchange" – 4:49
2. "Heavenly Homes" – 3:36
3. "Ships in the Night" – 4:03
4. "Crying to the Sky" – 3:57
5. "Sleep That Burns" – 5:16
6. "Beauty Secrets" – 2:47
7. "Life in the Air Age" – 3:59
8. "Like an Old Blues" – 3:27
9. "Crystal Gazing" – 3:24
10. "Blazing Apostles" – 4:29

---------------------------------------
To be honest these guys are very new to me. I discovered these guys basically from reading about them on this forum. Several people who seemed to have similar interest in music to me, had said good things about the band, and then this 5.1 issue came out, and I bought it blind to see what these guys were all about. So I really can't tell you anything about the band, other than Bill Nelson is seemingly the head honcho and a great guitarist.

If you like the band, and have interest in this, and the also deluxe Futurama 5.1, I would consider jumping on them, because it looks like they are starting to move out of availability.
Currently Amazon says they have 6 copies of Sunburst Finish left, and seven copies of Futurama ...

Amazon about $63 https://www.amazon.com/Sunburst-Fin...sunburst+finish&qid=1570367675&s=music&sr=1-1
For the record Futurama is about $50 https://www.amazon.com/Futurama-BE-...sunburst+finish&qid=1570367675&s=music&sr=1-2
Discogs about $60 Be-Bop Deluxe* - Sunburst Finish
Hanutt about $63 https://www.hanutt.com/search/Be+Bop+Deluxe?nId=2&kId=353741&a=5561269783&g=353741&d=14789854514&b=bb&v=c&t=p&n=o&o=134232246402&s=be bop deluxe sunburst finish deluxe&utm_source=bing&utm_medium=cpc&utm_campaign=BC3741&utm_term=+Be +Bop +Deluxe&utm_content=353741

5.1 mix Steven W Tayler
Remastered by Ben Wiseman

The contents of the deluxe set
Disc: 1
1. Stage Whispers
2. Love with the Madman
3. Maid in Heaven
4. Sister Seagull
5. Sound Track
6. Music in Dreamland
7. Jean Cocteau
8. Between the Worlds
9. Swan Song
10. Between the Worlds (Single Version)
11. Lights

Disc: 2
1. Stage Whispers (New Stereo Mix)
2. Love with the Madman (New Stereo Mix)
3. Maid in Heaven (New Stereo Mix)
4. Sister Seagull (New Stereo Mix)
5. Sound Track (New Stereo Mix)
6. Music in Dreamland (New Stereo Mix)
7. Jean Cocteau (New Stereo Mix)
8. Between the Worlds (New Stereo Mix)
9. Swan Song (New Stereo Mix)
10. Between the Worlds (Single Version) (New Stereo Mix)
11. Lights (New Stereo Mix)
12. Music in Dreamland (Phonogram Studios Version)
13. Between the Worlds (Alternate Single Version)

Disc: 3
1. Stage Whispers (BBC Session March 1975)
2. Sister Seagull (BBC Session March 1975)
3. Maid in Heaven (BBC Session March 1975)
4. Lights (BBC Session March 1975)
5. Stage Whispers (BBC in Concert May 1975)(Previously Unreleased)
6. Third Floor Heaven (Bbc in Concert May 1975)
7. Adventures in a Yorkshire Landscape (Bbc in Concert May 1975)
8. Sister Seagull (BBC in Concert May 1975)(Previously Unreleased)
9. Piece of Mine (BBC in Concert May 1975)(Previously Unreleased)
10. Maid in Heaven (BBC in Concert May 1975)(Previously Unreleased)
11. Axe Victim (BBC in Concert May 1975)(Previously Unreleased)

Disc: 4
1. Stage Whispers (5.1 Surround Mix)
2. Love with the Madman (5.1 Surround Mix)
3. Maid in Heaven (5.1 Surround Mix)
4. Sister Seagull (5.1 Surround Mix)
5. Sound Track (5.1 Surround Mix)
6. Music in Dreamland (5.1 Surround Mix)
7. Jean Cocteau (5.1 Surround Mix)
8. Between the Worlds (5.1 Surround Mix)
9. Swan Song (5.1 Surround Mix)
10. Bonus Audio Material
11. Between the Worlds (Single Version) (5.1 Surround Mix)
12. Lights (5.1 Surround Mix)
13. Music in Dreamland (Phonogram Studios Version)(5.1 Surround Mix)
14. Maid in Heaven (Old Grey Whistle Test)
15. Sister Seagull (Old Grey Whistle Test)
16. Maid in Heaven (Previously Unreleased Promo Video)

I have put this one up a few times in the polls, because I have been itching to relisten to it, and thank you for picking it for today.
For the record the 5.1 is either ace or dts 96/24... I always go with the dts in these instances

Fair Exchange
Opening with feedback swells, front and rears, three different guitars i believe.
We have several different guitars placed around the field.
This is an original sounding song/band and instantly gives the feel that the band are their own thing. There are elements of traditional rock and there are some other elements thrown in there as well ... without sounding like them, you can hear some 10cc type inflections, that move you out of the standard stuff and into slightly different territory.
They have quite a dense sound with layered guitars and piano.
Guitars either side. Piano and keys across the middle.
The mix seems to be all about balance, with the volumes blending to create somewhat a wall of sound.
Certainly immersive though.

Heavenly Homes
Big opening with synths in the rears, and then we move to a piano and vocal upfront. Rhythm gtr right. Lead up front splashing effects sends to the rears.
These guys have very interesting arrangements and the density in these first two songs makes pinpointing sections a little difficult, but it is excellent music, covering the whole field.

Ships In The Night
We move smoothly and flawlessly into apparently the bands only minor hit.
Keys up front. Guitars either side. Some nice surround drum mixing.
This is a very effective mix.
We get bvox in the rears and sides also.
Also an organ in the rears.
We get a sax lead, that a small part of the first section someone doubles whistling in the rears... nice balance so you have to listen for it.

Crying to The Sky
Again a smooth flawless lead into this track.
Cymbals in the rears, and a couple of nice surround effect movements.
Acoustic gtr either side.
Nice lead with some rears effects sends.
Bvox in rears.
A few nice guitar effects in this song.. they are like tacets with delay, that give an interesting sound and also have good surround movement.

Sleep That Burns
Again smooth transition... with the clock ticking, alarm and yawn. Then the song bursts out.
Crashes alternate between the rears.
Different keys alternate between front and rear.
The music takes a turn into an almost music hall/European movie feel, with a really nice mix to accompany it.
Such a dense layering of instruments mixed in such a balanced way makes it difficult to pull bits out, but it is a wonderful wall of sound.

Beauty Secrets
Really nice acoustic up front with vocals.
With a low oomph awash type backing vocal mixed low in the rears .
Piano left. Guitars front and either side.
Possibly my favourite track so far.
A great segue into

Life in The Air Age
This starts with a magnificent percussion immersion all around us.
Synth left. A nice flanger effect across the middle from the guitar.
Nice harmonised guitar section, with gtrs either side.
Bvox in all around.
We end with some nice effects over a cool groove.

Like An Old Blues
Synths left and right rears. Gtrs front and rears.
This has a very 10cc type of feel arrangement to it, and reminds me that I am annoyed they have no 5.1 albums.
Crash left side.

Crystal Gazing
String sounds , synth? Through the rears.
Whistling in the rears.
Gtrs either side.
Another excellent mix, that is a little more discernable, yet no less dense.
Please don't interpret my inability to break this down well as something wrong with the mix. This is a good balanced mix. It is one of those albums that has that wall of sound creating a unified sound... if that makes any sense, and at times has so much going on, that reviewing it like this is quite difficult.

Blazing Apostles
Synth left, gtrs front and sides.
Swooping effect down left side.
Percussive synth effect in the middle of the head. A rotating synth effect swirls around.
After starting with a cool rock gtr section, this track covers a ton of musical ground, and is quite an amazing arrangement, that brings a sort of Zappa musical arrangement to mind.
We end with a female voices clicking like a stuck record up front.

This is a very well put together album. It is much more complex than a cursory listen may suggest. I feel that I fail to get across what is going on in the mix very well, but i do think it is a good mix. The songs themselves are all going to come down to personal taste, but they are very complex arrangements in most cases.
I sort of feel that someone more familiar with the band and their work would be able to do a better job of running through this album than me, so please do, if your are familiar with it.
I would assume that people fond of 10cc, some of Zappa's more (somewhat) commercially viable rock work, and seventies inventiveness in general will probably really like this album, and this mix, but I also feel that this is the kind of album that needs a few listens to fully absorb.
This is only the second chance I have had to listen to it, and my inability to fully communicate what I am hearing is frustrating.

 

For the record. Forgive my phone's spell correct, and my poor typing. It takes quite a while to do these, and I have noticed I often fail to correct some of the mistakes.... and incorrect spell corrections. I hope they aren't messing up the general information I am trying to share.
If anyone is interested in my method ... I basically get on my computer and set up the basics in the first sections, and then I set up the hifi, and get on my phone and try to share what I am hearing as I hear it. I then come back to the computer and quickly check for obvious mistakes, but obviously miss some.

 

Great review of Abbey Road, Mark, and I look forward to reading the DSOTM review later, when time permits.

I’m considering the Abbey Road in 5.1 to be an absolute home run. If it was the 4th release, I’d call it a grand slam. Up until this release, I never even noticed the subtle bongos on Sun King.

Remarkable album, and well-done by Giles.

 

Re DSOTM the sacd 5.1 is an excellent listen n great in surround

However I do prefer the Quad mix by alan parsons over the 5.1 mix by Guthrie

Actually im finding i really enjoy all Quad recordings over 5.1 no matter what the album is...love those old 70s mixes

I Do not own the immersion set either...but i want to let ya all know that there are UNofficial blurays available for DSOTM n WYWH which i found on fleabay that have both the 5.1 n the quad mix on them...ive got these unofficial blurays n the SACD

There are some major problems w some of the official blurays from the immersion sets disc rot n such n its a VERY expensive box set...so seek out the "unofficial foreign blurays" for the Quad mix

Have a great day!

 

Distance over Time


Cover art by Hugh Syme
Studio album by
Dream Theater
Released February 22, 2019
Recorded June–September 2018
Studio Yonderbarn Studios in Monticello, New York and Mixland Studios, Midhurst, Canada (vocals only)
Genre Progressive metal
Length 56:57
Label Inside Out
Producer John Petrucci

Distance over Time is the fourteenth studio album by American progressive metal band Dream Theater, released on February 22, 2019 through Inside Out Music.[1][2] Distance over Time was announced alongside a tour of North America where Dream Theater will support the new album and celebrate the 20th anniversary of its fifth studio album, Metropolis Pt. 2: Scenes from a Memory (1999).[3][4][5] On December 7, 2018, the lead single "Untethered Angel" and its music video were released.[6] The second single, "Fall into the Light", was released on January 11, 2019.[7] The third single, "Paralyzed", and its accompanying video were released on February 8, 2019.[8]

Dream Theater

• James LaBrie – lead vocals
• John Petrucci – guitars, production
• John Myung – bass
• Jordan Rudess – keyboards
• Mike Mangini – drums

Production

• James "Jimmy T" Meslin – recording
• Richard Chycki – vocal recording, additional vocal production
• Ben Grosse – mixing
• Tom Baker – mastering
• Hugh Syme – art direction, illustration and design
• Mark Maryanovich – photography

1. "Untethered Angel" Petrucci 6:14
2. "Paralyzed" Petrucci 4:17
3. "Fall into the Light" Myung, Petrucci 7:04
4. "Barstool Warrior" Petrucci 6:43
5. "Room 137" Mangini 4:23
6. "S2N" Myung, Petrucci 6:21
7. "At Wit's End" James LaBrie 9:20
8. "Out of Reach" LaBrie 4:04
9. "Pale Blue Dot" Petrucci 8:25
Total length: 56:57
------------------------------------------
Years ago I bought the Dream Theater Score dvd, and very much enjoyed it. I also listen to the Metropolis album around the same time ... As these things go, the band drifted out of my thoughts, and aside from being interested in some of Mike Portnoy's other projects with Transatlantic, Flying Colors etc I kind of lost touch with the band. so the band are sort of new to me, but sort of not.
While I was driving for ten hours and the Mrs was sleeping last week, I had youtube on her phone (linked through the car stereo) and ended up listening to their new album (and a couple of old ones) and as seems to be the case at the moment, felt the need to buy some of their material.
I have had some vague interaction with what the band has been doing over the years, but not enough to anything like an expert. What i do know, is that this album is a return to a somewhat more guitar driven, and slightly less mellow approach.
On the drive I was very impressed with this and decided to get it, and so today I am about to put the 5.1 on for the first time ... and the anticipation is killing me (just joking folks, it's weird talking to your computer through the keyboard to people you don't know ... I mean think about it. It is weird, and I am sure some of the older folk on here know what I mean ....,
Anyway...

This is brand new and still available.
The cd/bluray/dvd artbook is about $54 new, and $38 second hand on Amazon. https://www.amazon.com/Distance-Ove...stance+over+time+deluxe&qid=1570372966&sr=8-1
The cd/bluray digipack is about $29 (thanks guys appreciate it!) https://www.amazon.com/Dream-Theate...hvlocphy=&hvtargid=pla-4583589108304462&psc=1
and i am sure these two versions are available from many other places, as they are still in print.
It is just really nice that there is a full on fancy version, and also a more modest streamlined version, so that we aren't stuck having to get more than we want... I just want to hear the music, and although artbooks and stuff are cool ... I am not probably ever going to bother looking at them, because I just want to hear the music.

Almost everybody is saying this is a massive return to form for the band, and although I like the other albums I have heard just prior to this one, I do understand what they mean, it seems like the band set out to recapture some vigour, and they certainly do.

I assume the stereo and 5.1 were done by the same person
5.1 mix Ben Grosse
5.1 and instrumentals Mastered by Peter Van't Riet

We have dts master audio and 96/24 5.1 lpcm to choose from.... I am going to go with the dts master audio here.

Untethered Angel
For the record, this is accompanied by video montages.
Gentle guitar arpeggios to open with a synth pad, that explode into some crunching guitar and drums. Then break into a staccato groove.
Synth in the rears.
A nice volume balance between the instruments.
Nice sliding delay on the vocals running to the rears.
Nice dynamic use of fronts and rears... the sound moves to fronts and then explodes back into the rears.
Excellent harmonised guitar section sitting either side.
Held delay/reverb on vocal sits in the rears for a minute.
Very good, very balanced mix

Paralysed
Gtr left, joined by gtr right. Again synths on the rears.
At the change gtrs either side, with nice balance.
Ethereal keys in the rears, adding nice texture to the crunchy guitars.
Bvox in rear.
Petrucci's playing on this album really seems like a statement of intent. Plenty of flash, but some really thoughtful melodic lines. It was the main thing to stand out on my first listen.
Really nice balanced mix.

Fall Into The Light
This starts again gtr left then joined by gtr right and moves onto a really nice hard rock groove.
The drummer copped some flack following Portnoy, but his work here is excellent.
Gtrs all round sounding very balanced and effective.
Piano in rears, gtrs either side.
A lot of nice textural changes in the mix.
Now we move to a clean guitar up front for a more mellow section.
A really nice lead gtr swell on either side the moves into a really good lead, and then a really nice harmony section.
The smoothly rolls into a more frantic section and a keyboard solo that is having fun in the surround field.

Barstool Warrior
Really nice guitar opening, that has the keys putting in some nice surround sounds.
Some monster drumming leads to a beautiful lead guitar.
Piano through the rears.
Gtrs either side.
Really nice sounding drums.
The songs here are very engaging if you like a slightly more gtr and drum driven prog type sound.
Really nice piano section up front with vol. Swell gtrs either side. This leads to some more magnificent Petrucci lead work, and then back to the vocal.
I am really very impressed with this album, and the mix is very fitting for the music, and definitely immersive and enjoyable.

Room 137
One of those grunty hard rock riffs opens here.
Gtrs either side.
Another scorching lead break.
Bvox in rears.

S2N
We kick off with the bass, and roll into a really cool hard rock/metal groove.
Nice vocal effect in the rears.
Nice delays on vocals rolling into the rears.
gtrs either side.
Nice keyboard section alternating sides in the rears.
We drop back to bass and drums, with the lead gtr - effects sends to the rears and it is a phenomenal lead break.
Then we get a nice staccato section of music... the stab and pause variety.
Then back into the main section of the song.
The guys have really put some thought into these arrangements.
Another lead break that is doing some smooth nice movement in the sound field.
Very effective also some keys in there.
A really nice swirling side to side drone finish

At Wits End
Opening with some great drums and a finger burner of a riff.
Piano rears. Gtrs all round. Synth pad just beneath.
Some beautiful accents here... then we break down to a vocal led mellow section with some nice surround effects.
Great arrangement here.
These mixes are all well balanced, and the band are playing their butts off.
Lead break swaying side to side.
Synth leads swirling and bouncing in the sound field.
Straight gtr lead up front
Everything and the kitchen sink.
Now we have a beautiful mellow piano filling the soundfield, and a nice vocal in that field.
We build back into a punchy section that gradually leads to a crescendo of sorts and a really nice melodic lead break. Effects sends to the rears. And piano across the field.
Excellent use of dynamics and musicianship. Excellent writing and very effective mixing.
A really good slow slow fade is very effective.
We have a fake finish that slowly rises into an ambient coda of sorts.

From what I have seen of the video it is also quite interesting

Out Of Reach
This starts like a ballad feel.
Gtrs either side. Piano across the field.
Nice vocal that leads to a reserved melodic lead break with effects sends to the rears.
A nice piano break.
Then we get a slightly more punchy section. Nice rising string sounds in rears, with guitars either side.
The sound very slowly and smoothly builds, and it seems you barely noticed the track move from the quite opening to the dense section.
Then we move back to a somewhat more mellow section with gtrs either side.

Pale Blue Dot
We start with what sounds like ambient sound and astronaut talk.
Some nice synth burbles around the field, and some crosstalk in the rears, this builds into a punchy gtr, bass and drum section with some nice nice synth chords over it.
Then we get a more full on section, with some somewhat elp type organ.
The organ returns after a vocal section, and it is in the rears and very effective.
We get some string type synth either side.
Then the gtr playing a melodic line rather than a lead break.
Synth flourishes in the rears.
Then we get and interesting unison run of the instruments that is almost Gentle Giantish.
Then we get quite an amazing instrumental section.
I guess someone had a word with the guys, they seem to really mean it here.

We get a bonus track on 5.1. Viper King, and it also is really cool. Going through a series of cool grooves.

Well to me, this is an excellent release. The band seem to be right on it, in the writing and execution of this album. If you like guitar heavy prog type music, I'm going to say this is essential. The mix is excellent, with a lot going on. We have great dynamics, and some really nice subtle things going on in the surround, and then as mentioned some very not subtle things going on in the surround.
An excellent album, and an excellent mix, that sounds really great to me.

 

I believe they have developed a lossy version for the streaming variety of Atmos, so I hope we get some of those Atmos tracks they mention on a Blu-ray physical disc in lossless Atmos.

 

N i hope those physical discs have a 5.1 mix on them cuz i seriously doubt ill be hanging speakers from my ceiling for atmos anytime soon

 

I had the DSOTM quad record back in the 70s (I have it on cd now) but no quad hardware, so it just played in stereo. But the mix was quite different in spots so I always enjoyed the quad differences in the mix. I've only heard the 5.1 some time ago once, so I can't rightly compare the two. I assume the 5.1 is closer to the stereo mix than the quad was. 5.1 or quad, surround is the best way to hear this groundbreaking album.

 

If u still have that quad lp involve audio has just made available the surround master version 2 to decode it...i dont have one but have read great reviews of it

I do want one.. maybe one day

 

Just listening to Dark Side Of The Moon again. This is the ultimate “hi-fi” album and also one of the absolute must-have surround mixes but (whisper it) I don't really like the album. I traded my original to a friend in return for the much better Meddle and I've always treated it as an upmarket demo disc intended to deliver as many sonic fireworks as possible. While Wish You Were Here is a great surround mix of an album that is 100% worth listening to in stereo, for me DSotM will only ever be something I listen to in surround and the only to go “ooh” and “ah” at the effects. The heartbeat, the alarm clocks, the drums at the start of “Time”, the cash registers ... what on earth is not to like?

I should row back a little before I'm lynched. Yes, I think that “Brain Damage/Total Eclipse” (especially that great Hammond entrance where the two tracks meer) makes for a pretty great end to an album and that's not down to effects. But if I were listing albums in its weight class I'd say that this is about the worst.

 

Trading DSOM for Meddle was a great deal to be sure, because you can run out and buy another DSOM. Meddle, not so much. Seems to me like the reasons you have given are quite sufficient for getting another DSOM. But perhaps I’m easier to please.

 

I have a stack of titles to go through again, but I want to listen to them all one more time first. Meanwhile, imports CDs still has the Distance Over Time Blu-ray digipack for $13.43. Maybe it’s mispriced, but I got it for that.

 

Oh, it was the stereo version I traded ... I did later buy the SACD of DSotM. (Though, frankly, the fact that I bought something is not the vote of confidence that it ought to be!)

 

I’m with you. Between the ceiling fans, and the idea of drilling a hole in wall and ceiling to run wires......just no.

 

Went with Pioneer Atmos modules to get to 5.2.4, no holes in ceiling required just flat surface on top of existing four floor standing towers