Do you know if I Want You on the 2fer has the same mastering as the older single disc version? Or if you're not sure, any chance you could post EAC peak levels for the 2fer? Thanks...
Here are the levels for What's Going On / Lets Get It On: 77.8 / 88.1 / 67.7 / 87.2 / 71.1 / 74.0 / 96.0 / 71.1 / 86.3 / 100 / 84.7 / 72.0 / 99.0 / 84.3 / 89.4 / 88.4 / 58.1 Let's Get It On starts at track 10 (100%). EDIT: oops, just seen this is already posted. Oh well, I can confirm it!!
Ricks... no offense intended. I suspect what you hear is not the result of volume differences. Since they are different masterings, it's probably an EQ difference. I don't care if it's a new remaster or an 80s transfer from a tape copy. Whatever sounds best to me is what I prefer.
EAC values from my 1986 West German Tamla ZD 72456 2fer are different - 100.0 / 99.9 / 72.6 / 96.1 / 77.5 / 69.8 / 100.0 / 73.8 / 96.8 / 100.0 / 92.5 / 80.7 / 100.0 / 87.9 / 85.3 / 85.5 / 55.7 The mastering is credited to Tom Baker at Future Disc Systems.
That's very strange. Is your WG twofer a Made in Japan disc? I have a German ZD72456 Made in Germany disc, and the What's Going On tracks have the EAC-levels of the MCC single disc. It's the same one as Emerlist Dayjack reports. Also more in this thread/post: http://forums.stevehoffman.tv/threa...mpact-classic-cds.150248/page-3#post-10594675.
Sorry, didn't mean Emerlist Dayjack, but John Cantrell: I would really like to know if the US release also has a Made in USA version and a Made in Japan version. And if the mastering differs?
This version is the one that I have, except there is a 1993 copyright date on the rear cover. It's made in France by PMDC. These are the same peaks as the MCC version, and I wouldn't be surprised that it is the Matousek mastering (doesn't some like the Lurssen master as described on this thread).
A bit off topic, but since you asked, and I own this disc, here are the EAC and DR levels for the twofer I Heard It Through The Grapevine / I Want You. Mine is a Japan for US disc (disc says "Made in Japan", booklet says "Printed in U.S.A."), Tamla TCDO8010TD, matrix TCD08010TD-T2F1. Mastering is credited to Matousek in the booklet. I bought this disc for the I Want You tracks (starting from track 13) and love how it sounds. It's not compressed, an warm sounding. It's much better that the Reeves remaster (Deluxe Edition, 2003) and also better as the Lurssen remaster (1998, single disc). In comparison with the Lurssen disc, the horns are better sounding on the Lurssen disc, as if the twofer is based on a lesser quality master tape. But the Lurssen disc is more bass heavy and the twofer sounds more natural overall. Code: EAC DR Filename ---------------------------------------------------------------------------------------------- 87.4 DR14 01 Marvin Gaye - You.wav 79.5 DR14 02 Marvin Gaye - Tear It On Down.wav 94.4 DR14 03 Marvin Gaye - Chained.wav 76.8 DR14 04 Marvin Gaye - I Heard It Through The Grapevine.wav 79.4 DR13 05 Marvin Gaye - At Last (I Found A Love).wav 67.4 DR13 06 Marvin Gaye - Some Kind Of Wonderful.wav 74.6 DR13 07 Marvin Gaye - Loving You Is Sweeter Than Ever.wav 77.2 DR14 08 Marvin Gaye - Change What You Can.wav 88.0 DR13 09 Marvin Gaye - It's Love I Need.wav 91.7 DR13 10 Marvin Gaye - Every Now And Then.wav 87.3 DR15 11 Marvin Gaye - You're What's Happening In The World Today.wav 73.1 DR13 12 Marvin Gaye - There Goes My Baby.wav 81.6 DR12 13 Marvin Gaye - I Want You.wav 66.4 DR14 14 Marvin Gaye - Come Live With Me Angel.wav 67.2 DR12 15 Marvin Gaye - After The Dance (Instrumental).wav 66.3 DR13 16 Marvin Gaye - Feel All My Love Inside.wav 55.0 DR14 17 Marvin Gaye - I Wanna Be Where You Are.wav 39.9 DR16 18 Marvin Gaye - I Want You (Intro Jam).wav 81.8 DR13 19 Marvin Gaye - All The Way 'Round.wav 66.9 DR12 20 Marvin Gaye - Since I Had You.wav 74.6 DR13 21 Marvin Gaye - Soon I'll Be Loving You.wav 62.1 DR16 22 Marvin Gaye - I Want You (Intro Jam).wav 64.2 DR13 23 Marvin Gaye - After The Dance (Vocal).wav ----------------------------------------------------------------------------------------------
To bring this thread back from the dead... I have the 1994 and Deluxe Editions (the latter for the alternate mix). Since then, I notice the following high-res versions, all of which seem to be available at one price or another. MFSL SACD SHM-SACD HFPA Blu-Ray 24/192 HDTracks download Are any of these worth springing for over the two I already have? If so, which would be your preference (of the ones you've actually heard, that is). Needless to say, I don't really want to be shelling out for all of them!
Description reads: "HR cutting from the DSD master which was newly flat transferred from US original analogue master tapes in 2013." So the Platinum SHM-CD is not the same as the 2010 SHM-SACD (remastered by MFSL).
I'm surprised no one else has seen fit to comment on this. (It also seems odd to me that there seem to have been three recent, completely-different remasterings of this in the past couple of years: the SHM-CD, the HDtracks, and the HFPA. Normally, HPFAs seem to be either the SHM remastering or the one on offer at HDtracks, but, this time, it seems all three are different.)
Sounds like folks are spoiled for choice when it comes to this album. I've settled on the original Motown CD (thanks to a recommendation I received here), and it's the best one to my ears.
I believe the first edition CD and the two-fer are the same master. http://www.discogs.com/Marvin-Gaye-Whats-Going-On/release/3047366
I guess what strikes me is that I can imagine a new remastering that may be better (or not) than what was available before. I can even imagine a second remastering, if the producers thought the first wasn't as good as it could have been. But a third -- and all of these produced by the same company? I could understand multiple remasterings if, say, they were being done by competing specialty companies like MoFi or AF, but we're talking about three different mastering jobs, all coming from divisions of Universal over the course of a couple of years at most -- and, in the case of the HDtracks and HFPA versions, likely both from the same division.
And, just to add the to the confusion, from what I can gather, two of those masterings -- the HDtracks and the SHM-CD, were both done by the same engineer (Kevin Reeves) on two different occasions, using two different studios. The HDtracks was transferred to 24/192, while the SHM-CD was transferred to DSD, then converted to 24/176 before being reconverted to Redbook for final output. That's right...when they did the SHM-CD, they did a new DSD transfer, even though they had already done the SHM-SACD a couple of years before, and any possible use for the transfer would be in a PCM format. And, while you might expect the same engineer to come up with results that were pretty much identical, the DR Database indicates not just minor differences in DR levels on most tracks, but pretty substantial level differences between tracks from one version to another.
