Jethro Tull - Aqualung 40th Anniversary Special Edition (part2)

I enjoy the remix and definitely recommend it as a different way of hearing Aqualung.

But were you going to explain how the stereo master tape (the one that Steve used to make the DCC) would have had "mud and crud" on it?

 

Again, I suggest that you read the comments from the artist and Steven in the remix booklet and Steven’s comments herein about the recording sessions. Electronics - including tape generations, sound boards, EQ, reverb, and so on can all add distortions and also cause unintended EQ changes.

 

The root of all evil

 

As someone who did not participate on the debate this this thread has become somewhat pointless to me. What are You going to convince each other?

 

I read them, but I can't say I really buy them as being big factors here.

And the DCC was made from the stereo master mixdown tape, right? That master would have been made right from the multis, so what do you mean "tape generations"? You actually think that one tape the multis were mixed down to would have that much difference from uploading them to a PC?

 

Wow, I wondered how long before people started dissing Peter Mew; it's taken longer than I expected... He's really hated in this forum, isn't he?

 

No, there is some hope left, see post #965.

 

You forgot to mention the stoned engineer.

This really affects your hearing, and if you mix an album being stoned, don't expect any great results. I think this was probably the biggest influence, since that recording studio has produced some great recordings, and very often, electronic equipment from the 70's has a decent sound (at least in general, I often like the typical early 70's sound on many recordings). I don't think it is fair to blame the equipment as the main contributing factor for all the mud and crud on the original mix.

 

This is unfortunate.

Not speaking for Steven, but it must be quite disappointing to work so hard on something and have someone else come along and mess with it for the final product.

 

I don't know anything about the personal habits of John Burns, but it seems kind of disrespectful to dismiss his engineering of Aqualung as "possibly stoned." http://en.wikipedia.org/wiki/John_Burns_(audio_engineer)

 

That is an interesting wikipedia link. And it mentions that he returned to the studio with Tull to record "Aqualung" after an 18 month tour with them. Sounds like he mixed their live sound as well, and being on the road for 18 months with a rock band can really affect your hearing, so maybe it had something to do with this. Of course, who know what happens on a long tour with Jethro Tull...

 

By the way, he seems like a cool guy, just visited his website at:

http://www.jebomusic.co.uk/johnnieburns/John_Burns_Official_Website.html

Many nice pictures there.

 

Catching up and just read the last few pages.

It amazes me how much dissecting and varied points of view there are.

For me the first thing I do is put the CD on sit back in the sweet spot, close my eyes and listen to the whole CD.
I'll either like the texture of the sound, find it lacking, not to my taste or annoying.
With the stereo remixed Aqualung it landed right in the pocket for me and I just sit back and enjoyed. My wife is sick of hearing it!
However, if the sonics are annoying I reach for the eject button.

I only became aware a short few months ago about brick-walling, never knew of it before, but back then I knew I did not like some CDs but did not know what was the cause. (Yep, living in a cave. )
I had the original 1985 and the 2005 remaster of Dire Straits - BIA.
I found there was no way I could sit through the 2005 version, besides it being over bright for my taste it sounded and felt odd.
I much preferred the original.

It was by chance that I compared the wave forms of these CDs, and discovered brick-walling. I was appalled and extremely alarmed. Did some Googling and the sham of crap remasters was opened to me.
NOW I KNEW WHY some of my CDs sounded awful. I thought it was my gear or my ears.

As an experiment I chose many different CDs out of my collection at random to listen to. The ones that sounded brick-walled I would later check the wave form to confirm what my ears were telling me. So far I have been 100% correct.
So it seems my ears are sensitive to brick-walled music.
Some other remasters are not brick- walled but seem to have more energy around the 2k area and I find it just jangles my ears and I cannot stand it.
Ryko David Bowie's are an example of this.

My point is that we all enjoy the sonics of various types of music and enjoy some even more because they have that certain texture to it that hits YOUR sweet spot.
Our listening systems differ, our listening environments differ and our ears differ.
So realistically we cannot put "our" expectations of perfect sound on the likes of Steven Wilson, Peter Mew or any of the others involved in the chain of production.

In light of some of the appalling remasters and new releases (IE Black Country Communion -2) over the last 10 years I think on the whole this remix of Aqualung has come out rather good. Consider the fact that it could have been just another brick-walled piece of s#@t!
So if you like the new Aqualung, praise those responsible so they get recognized for it and continue in that direction.
We certainly DO NOT want more brick-walled crap.
So I urge you to let Steven Wilson know that you appreciate the direction he took on Aqualung. It takes guts to be different from the pack and buck the brick-wall trend that we are drowning in.

CDs are a bit of a lottery.
So be happy with the ones that you find hit YOUR sweet spot and don't get so hung up on technicalities.

 

I don't see it as "guts." From a 5.1 perspective at least, I think he's just really talented and committed to doing the best job he can.

 

Oh, I agree with you totally.
I also believe Steven Wilson is extremely talented and committed.
His notes in the back of the Aqualung booklet show this as well as his work.

I chose the word "guts" because as trends go, people tend to follow it and can be scared or intimidated to conform to the "popular" even when they do not agree with it.

We need more Mavericks like Steven.
The guys at AF are already doing a great job and I know there are a few others out there too!

 

Impressive that he also worked on Selling England.

 

One harsh MOFO

I just got finished listening to the 24/96 stereo version of the "new" Aqualung.

For the most part I like the new mix. However, on "Cross Eyed Mary" the lead guitar was ridiculously way to high in the mix and the flute was buried. I also didn't like the compression used on the acoustic guitars, it just sounded cheap. Otherwise many parts of the mix were brilliant.

The mastering is another story. I am blaming the mastering on this release for it's harsh sound. I have other Steve Wilson mixes from Opeth (Heritage) and Steve Wilson's last release. Both of these sound great. However the King Crimson stuff is treble happy, as well, which is probably mastering.

The new aqualung has tinny/harsh vocals, especially when Ian is pushing his voice. There are tinny pianos, tinny guitar solos, and tinny flute sounds throughout. There are virtually no lower mids on this release.

I don't know why this even needed to be mastered. It should have been a flat transfer. Hi-res masters do not need the treble boosted in order to bring out details in the recording.

I sincerely hope that Thick as a Brick is not mastered, but a flat transfer or at least give it to Steve Hoffman for the Breath Of Life style mastering and not the nasty mastering that is on Aqualung.

 

Amen Brother. This should never have been put in the hands of someone that likes to boost the treble. It completely ruins it for me.

 

I only have the 2-cd set. The big deluxe box was too much money.

 

yes, again...I like it! accept it, digest it! and forget it!

 

I just received my copy of the 2-cd set this afternoon (joy). I really enjoyed revisiting this landmark album and played both discs at one sitting while reading the booklet with a magnifying glass. I must say Steven Wilson did an extraordinary job.

I wish a person like Mr. Wilson could unlock the sounds for LPs like Automatic Man S/T, Journey’s Infidelity and BOC’s On Your Feet or on Your Knees. That would be a gift from heaven.

Hearing great sounding CDs like this current Aqualung make me wish that all Cds could be mastered this way. This is coming from a diehard vinyl guy. MHO

 

OK! let's all jump on the bandwagon...the new remix sucks ruined by Peter!

FOR ME, one of the most exciting releases in the past decade...finally some high end on a previous low volume, muffled, tired CD release...
poor Steven.

 

I guess I tend to enjoy more of a crisp trebly mastering. I know Mew has had a bad rep in the past, but some of his more recent work, including this and Sunshine Superman, has sounded great to me. Different strokes. . .

 

I'm still concerned about the defects in the flat transfer on the Blu-ray. I loved that the BD offered all of the audio variations, including the original mix. I was hoping the flat transfer would be a good way to still have access to the original mix without resorting to my 25th anniversary CD or shelling out for the DCC gold.

Earlier in this thread people have mentioned glitches in the flat transfer's "My God". I also hear a big one in "Cheap Day Return".

Anyone have any idea if there are plans to fix/replace this? Anyone contact EMI?

These are the glitches I've found:
Track 3: 10:59
Track 7: 25:31, 25:40-41, 25:46, 25:53-54, 27:49

Btw, this is my first post after lurking for months about Immersions, Super Deluxe Director's Cuts, 40th Anniversaries (just had mine!), SHM-SACDs, and other Kinky and Smile-y stuff!

 

Amen my friend! and some kicking bass as well!