pink floyd wish you were here CD

But what about digital artifacts and digital effects which are inherent in the recording-it can be very difficult to remove these as I understand it?

 

How much does the Japan 2-track go for? I have actually lived in Japan off and on for years, and in the last decade, I can only recally seeing it once (and it was a beautiful copy with a pristine, wide obi -- WHY didn't I buy it?).

 

MULTIPLE hundreds of dollars... sometimes more.

 

Last ones I'm aware of on the forum were $186, $180 and err.....$11 (Fumi got it on Ebay). But there are $300+ ones of course!.

I can see that some people would, and do prefer the mastersound -which is sort of digital sounding-very clear bright and punchy. It sounds very impressive on first listen! and its a bargain at $50 ish. But just a tad loud in parts though this one certainly got expensive-(thats ££'s not $$s)

http://cgi.ebay.co.uk/SONY-SBM-MAST...goryZ307QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

But it is almost the exact opposite of the 2 track which is warm and analogue sounding and doesn't sound that impressive on first listen

 

Hi,

I only have a 5-track US CBS DADC made copy of "Wish You Were Here". It sounds wonderful and only cost me $5. I need not look for another!

 

The problem is, even Pink Floyd's remasters suck this decade, the sound of EXOES and the redbook layer of 30th Dark Side are abysmal. It's too late in history to hope for good remasters.

 

People looking for this need to look harder. This just sold today.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=320091359584

Happy Hunting

 

This is the second mastering, and often gets pushed aside, or lost in the shuffle. However in my opinion, this is a very good sounding disc. I know I've seen others who felt otherwise, but that's my personal feeling. For what it's worth.

 

Heh, I was about to bid on that one but multiple snipers appeared out of nowhere and sent it way above what I was willing to pay. ynnek4 is a forum member, congrats

So, does anyone have any opinions about how early UK LP pressings compare to the Mastersound and the 2 track Japan CD? I was hunting for those on and off for quite some time, until I snagged a second press (A-4, B-13, HTM cut) UK LP, which I've been very happy with. Of course, I'm still curious about the forum favorites.

 

Hi,

I prefer the early UK pressing LP copies to Mastersound LP versions. The wonky EQ and veiled sonics on the Mastersound LP aren't desired here. The Mastersound CD is OK but not that much better than a first or second mastering US CBS CD issue.

 

!!! Can't believe that CD went for $100; I see it occasionally in my used CD trawlings 'round here...I used to have it back in the day, I'll have to pick it up (next I see it) to see how much my tastes in sonics have changed!

 

Do you mean the CBS mastersound LP?

 

yeah, i figured it would give it a try. i will probably end up selling it sooner or later (probably via sh classifieds). i had JUST stumbled on it (around 12am this morning) and it was at 40.00.

 

The original Japan-for-U.S. disc divided into two tracks is very rare. You have seen it in the bins occasionally? I have only seen it in the bins once, and I bought.

 

Would that be CK 33453 DIDP 050004 with the "Now Made In USA" band on the tray insert?

 

Here's a recent one on e-Bay. I bid $65 and lost by a mile. I have the CBS Mastersound and think it sounds great, but I was curious to hear the Japanese 2-track. I wasn't quite that curious.

http://cgi.ebay.com/ws/eBayISAPI.dl...MEWA:IT&viewitem=&item=320091359584&rd=1&rd=1

 

Another vote for the Mastersound! It sounds great IMO, significantly better than the Doug Sax remaster and the old Harvest Blackface. If the japanese 2-track is even better, then WOW!

Does anybody know anything about the old australian cds which are divided into 13(!) tracks?

Just bought one on eBay for next to nothing. It's similar to this one: http://pinkfloydcdscanz.bizland.com/WYWH/AustraliaCDCBS80955.html except that there's no barcode on the back.

(BTW: Also got the old forum favourite Swindon pressing of Meddle for $15 incl S&H! )

 

Does anyone know how the Japan 2nd and 3rd pressings sound? It think they are 28DP and 25DP catalogue numbers.

 

Hi Dongle,

Same catalogue number, my copy is very early US DACD with no "Now Made In The USA" anywhere. Same excellent mastering you won't have to pay much for. Get one if you don't have one. It's very excellent.

 

Hi dnewhouse,

Yes, the Mastersound is from US CBS. I don't like the EQ and excessive treble. The regular Columbia US is better and the UK EMI-Harvest vinyl is to the next level and beyond sonically. Better, quieter vinyl too and just wonderful listening.

 

I am not that crazy about Pink Floyd, so my information is not as detailed, but basically, I think that those would be the third and fourth pressings. The second pressing, which I have, is a 32DP catalogue number, and it sounds very warm -- I think it is probably the same pressing that was released in the US after the so-called 2-track.

BY the way, when I talk about the "2-track Wish You Were Here", I am referring to the original Japanese 35DP pressing. The disc label actually refers to only 2 tracks. It came with a beautiful HUGE blue obi, and as I mentioned earlier, I have only seen a near mint obi once, and I should have bought it. I suspect that this is the same as the 2-track US edition that everyone is talking about, but I have not heard either. Check the link below -- pretty nice, huh?

http://www.hokafloyd.com/CDHOKA/wywh_35DP4/WISH YOU WERE HERE.htm

 

Yep, just picked one up for $4.99. Going to listen a little latter. . . .

 

So, I've now had a chance to compare; The '84 Japan "Two-Track", the '85 "Now Made in USA", the '92 "Digital Re-Master", and the '95 "Mastersound Gold". I think that covers the major masterings, correct? The "anniversary" being the same as the '92?

I only had a chance to seriously a/b/c/d two tunes, the title track and Welcome to the Machine. I should say I'm reasonably familiar with this album, having owned it in some form since '77 or so. It's been a while since I took a serious listen though. As usual this is with the HD-600s.

I have to say I understand why folks like the Japan "Two-Track". Very smooth and non-fatiguing. I kept wanting to crank the volume up higher, and you can go to "11" without it sounding harsh. That said it has a bit of softness to it. Not necessarily a rolled off EQ, but something about it is a touch rounder overall. Almost like that proverbial veil over the speakers. A little "polite" sounding. Now, this album is a very "polite", reserved, and terribly British work, so maybe this is correct. I can't help wondering if the Japanese used a tape one (very high quality) generation away from the original?

I'm liking the '85 "Now Made in USA" a lot right now. It has a lot more umph to it. Transients seem sharper and clearer. More clarity in all the little noises and effects. Bass on "welcome" is a fair bit more extended. Not boosted, just lower extension. Details of David's finger action in the intro to the title track are clearer. Like you're sitting a couple of rows closer to him. Manages to sound more extended and detailed, without being harsh or fatiguing. I might feel differently in a different mood, but tonight I preferred it over the two-track.

I did not like the '92 "Digital Re-Master" at all in comparison. Thin and brittle. Grainy. All those shortcomings one usually associates with CDs. Because there is always some kind of background effect going in the music I didn't hear any difference in actual tape hiss, but the sound of the instruments had the sort of thin quality one associates with digital noise reduction. Ultimately hard to relax and get into.

The '95 "Mastersound Gold" was interesting. None of the thinness or brittleness. Lots of solid extension, deeper bass on "Welcome" then any other. (which is pretty damn deep) Highs are nice and clear, but not too harsh. (well maybe a little) One of those deals though where you keep wanting to turn the volume down. Definitely feels compressed. This is most noticeable on the intro to the title track. All the little finger-on-freeboard squeaks and ambient decays were much more boosted in relation to the actual guitar notes. The guitar on the transistor radio is much louder in relation to the studio guitar. After the very first few notes, David lets a lower note hang for a moment before continuing. Here that decay jumps out at you, louder then even the real note before. In the '85 "Now Made in USA" for instance that note decays gracefully away, as it should. In the Mastersound "Welcome" is especially annoying, all those space-age machinery sounds are far too in-your-face. I can see where some folks are liking this because you get "more detail". Which is true, all the sounds jump right out at you. I believe that on this music a lot of those noises should be half-lost in the mix. To each his own, but this master is not to my taste at all.

My Rakings:

#1 '85 "Now Made in USA"
#2 '84 Japan "Two-Track"
-Big Gap-
#3 '95 "Mastersound Gold"
#4 '92 "Digital Re-Master"

My opinion only, and I reserve the right to change my mind as soon as tomorrow. I could flip-flop on 1 & 2, or 3 & 4, but I don't think I would have either bridge that gap. All for very different reasons though.

But, yeah, $4.99 bargain-bin wins the day!

 

Here's some waveforms. Keep in mind my comments above were based on actual listening, not looking at graphs. Still, I find it fascinating to look at graphs too.

These are all the title track, zoomed 1:512 in SoundForge, cursor is 1:25 from where the studio guitar comes in.

The '84 Japan "Two-Track"



Typical of quiet Japanese early masters. Maximum peak on this track is -4.6dB. Many forum favorites look like this. I often wonder if staying well away from 0dB is the key to good sound?


The '85 "Now Made in USA"



Now, this one does clip at 0dB in three spots on this track. Only three micro-peaks though. And zoomed in they do not cut off. Look at the graph below, and this one looks quieter, yet it peaks higher in reality. So, more dynamic range.


The '92 "Digital Re-Master"



Not bad when compared with a modern master. Peaks at -0.2dB so no clipping. Less dynamic looking then above though.


The '95 "Mastersound Gold"



We can definitely see the compression at work here. Notice how the middle band is fatter then above, yet the maximum peak is at the same -0.2dB. Means all the quiet bits are louder, but the loudest bits are no louder. Still no where near a "Loudness War" mastering, but compressed nonetheless.

 

It means that (almost) one bit of information is lost, nothing else. Not hitting 0dB is certainly preferrable, but staying that far away does not have any additional benefit.

I don't see that. You mean digital compression? I think that can't be concluded from the waveform.