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PostPosted: Sun Apr 19, 2009 6:36 pm 
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JWB wrote:
The EQ is extremely heavy on the upper mids which gives it a harsh, grating sound (this is the case with much of Astley's work).


Like I said, I don't think that's anything he did. Compare the stereo mix to the old MCA CD. Or compare Someone's Coming to the file I sent him. The differences aren't major. Could he have done something to *tame* those mids? Of course. But at this point I'm glad he basically just left well enough alone.

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PostPosted: Tue Apr 21, 2009 11:43 pm 
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You're right Luke. I compared the Classic LP to the deluxe and the LP is actually brighter! However, the deluxe has the levels smashed and EQ that sounds lousy at that volume (whether it's "authentic" or not). The Classic LP sounds every bit as good as the deluxe and it has all the dynamics intact (as well as the Track Records outro) which is why it will remain my go-to version (albeit in re-eq'd form).


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PostPosted: Sat May 09, 2009 9:23 pm 
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All the boxes have finally surfaced on some torrent sites, and everyone is creaming over the sound quality. These boxes sound every bit as bad as "Odds & Sods" did, and everybody hated that one, so what gives? Is Jon Astley's crap mastering work acceptable now?


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PostPosted: Sun May 17, 2009 3:37 am 
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I agree with JWB. I like the packaging, some of the bonus tracks (Sodding About, mono Jaguar) and the inclusion of the mono mix, but the mastering is just as bad as the Quick One stereo remaster or the recent Japanese My Generation remaster.

I compared the different CD versions of I Can See For Miles (orig. stereo mix), and I think now that the one on Meaty Beaty Big & Bouncy is the superior one. The WHWB CD is cleaner but also very tamed. The Deluxe Edtion on this particular song sounds as if it is from a better source than the original MCA disc...


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PostPosted: Sun May 17, 2009 9:13 am 
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Andreas wrote:
I agree with JWB. I like the packaging, some of the bonus tracks (Sodding About, mono Jaguar) and the inclusion of the mono mix, but the mastering is just as bad as the Quick One stereo remaster or the recent Japanese My Generation remaster.


Just as bad? I thought the mono My Generation was good, and AQO was at least decent...

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"I know because it is impossible for a tape to hold the compression levels of these treble boosted MFSL's like Something/Anything. The metal particulate on the tape would shatter and all you'd hear is distortion if even that." - VD


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PostPosted: Sun May 17, 2009 8:55 pm 
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As I said before, Astley left the EQ alone, which is okay in the proper context. In this case it was a bad idea, since he jacked the volume up so high, it's impossible to listen without ear damage. Everything is hard limited/compressed into oblivion. I have to turn the volume down far lower than normal to listen. Extremely shrill EQ + Extreme Hard Limiting = awful results & typical Astley

My Generation sounds the same as the Classic LP only it's extremely loud and compressed.

AQO sounds the same as the German LP only, again, it's extremely loud and compressed.

I'm not impressed in the slightest. The people who think these CD's sound "great" must be listening at low volumes with the treble turned down. Best source tapes ever does not neccessarily = great. I also can't help but wonder if they've ever heard the vinyl.

And as I said, the mastering is every bit as bad as previous Astley ear-bleeders such as AQO stereo and Odds & Sods. The problem is that people WANT them to sound great so they have deluded themselves into thinking so.


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PostPosted: Sun May 17, 2009 10:58 pm 
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I guess I find them louder than necessary, but not problematic.

Did you think Someone's Coming on the DE sounded that much worse than the original?

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