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Post by Quoincidence on Nov 12, 2019 17:43:48 GMT
I'm assuming that on the deluxe of Perfect Remedy, we will be getting 3 live tracks from the Rocking All Over The Years video but not the whole gig? Whole gig. It's a 3 disc set
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Post by cammythemortonfan on Nov 13, 2019 17:01:35 GMT
I'm assuming that on the deluxe of Perfect Remedy, we will be getting 3 live tracks from the Rocking All Over The Years video but not the whole gig? Whole gig. It's a 3 disc set Will it be the whole gig including the tracks that weren’t on the video release eg Roadhouse Blues, the full encore and tbe icing on the cake, Rain with the breakdown ?
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Post by I Ain't Complaining on Nov 14, 2019 22:13:42 GMT
Whole gig. It's a 3 disc set Will it be the whole gig including the tracks that weren’t on the video release eg Roadhouse Blues, the full encore and tbe icing on the cake, Rain with the breakdown ? What happened in Rain? Not sure I've heard that one!
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Post by Quoincidence on Nov 15, 2019 0:06:26 GMT
Will it be the whole gig including the tracks that weren’t on the video release eg Roadhouse Blues, the full encore and tbe icing on the cake, Rain with the breakdown ? What happened in Rain? Not sure I've heard that one! 30 seconds into the song, the power to Marshall amps went, so Jeff kept the song going for around a minute until the issue was sorted.
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Post by backwater67 on Nov 15, 2019 9:40:37 GMT
Pretty sure it was a tv camera attached to a swinging arm that knocked into the marshalls. There was a massive bang & Rick lost power. Jeff kept the beat going for about a minute in which time Rick said to the crowd “trust this to happen on a night like tonight”....That’s why Rain was omitted from the NEC 89 gig. Highlight for me that night was The power of rock when all the arena was lit up....
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Post by Quoincidence on Nov 15, 2019 10:54:41 GMT
Pretty sure it was a tv camera attached to a swinging arm that knocked into the marshalls. There was a massive bang & Rick lost power. Jeff kept the beat going for about a minute in which time Rick said to the crowd “trust this to happen on a night like tonight”....That’s why Rain was omitted from the NEC 89 gig. Highlight for me that night was The power of rock when all the arena was lit up.... the arm from the crane never went low enough to knock the amps over. The power goes off, which is why you cant hear Rick, Fran or John's instruments at all. And Rick didnt say anything other than "Keep clapping" to the audience. Rossi says after Rain, "its gonna be one of those nights... it already is one of those nights".
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Post by backwater67 on Nov 15, 2019 19:27:20 GMT
I was there with a clear view, It didn’t knock the amp over although it did catch it, hence the Big Bang & loss of power. Regarding who said what I’m not sure. Regardless it would be good to actually see it again!!!!!
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ant
Rocker Rollin'
Quo covers & more https://www.youtube.com/channel/UCfcyZng8z03-RpOhdWdawvw
Posts: 625
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Post by ant on Nov 16, 2019 15:25:08 GMT
Yeah, Andy Pearce is doing all of the Quo Deluxe stuff... the mastering done on these is much better than the job done in 2005/06 by Tim Turan. He truly f*cked the tracks peaks. The 2005/6 remasters are horrible. No discussion there. Andy Pearce got near them, on the second wave of the deluxes. And he is not very far from them. The latest releases also had a huge peak cut. Some songs from Back To Back and ITAN got more than 6dB worth of peaks completely cut. That's a lot, if you ask me. There goes the punchiness. One big difference between Tim Turan and Andy Pearce is the EQ. The former used more the typical rock (or V) EQ, from what I got. More bass and treble. Andy Pearce prefers the opposite: cut the very highs and some basses, boosting some high and low mids. I don't like neither, particularly. Some songs really lost the punch just because of the EQ, like End of the Line, for instance. What's annoying is that some songs that were never released in CD, like Where Are You Now, had this deluxe release with this EQ and 6dB of peaks cut. There are some good quality ones in YouTube, probably from vinyl rips. Just compare them with the deluxe one and you'll notice a good difference on the drums. Interesting. What was your source? The vinyl? Because the one you posted on YouTube doesn't sound like coming from a vinyl at all. I know they have super good tools to extract this stuff, but still. They did a good job there. Disagree with you both on this one - I much prefer the 2005/6 Turan remasters to the latest lot. I couldn't believe how thin the new lot are - to the extent that I will only buy ones with things I REALLY want on them. It's strange to think that we hear people asking for Quo to sit in a circle so that they can record with no separation and then dislike the fuller sound that Tim turan got. Turan for me - but horses for courses. eh? I've noticed this in other bands too - the latest remaster of Thin Lizzy's Live and Dangerous (up there with Quo Live as one of the best live albums in existence) is thin and horrible - I had to re-buy the previous version. And the Sabbath Heaven and Hell and Live Evil deluxe remasters are also horrible - they somehow make Sabbath sound like they lack dynamism.
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Post by sqcollector on Nov 16, 2019 20:04:51 GMT
Disagree with you both on this one - I much prefer the 2005/6 Turan remasters to the latest lot. I couldn't believe how thin the new lot are - to the extent that I will only buy ones with things I REALLY want on them. It's strange to think that we hear people asking for Quo to sit in a circle so that they can record with no separation and then dislike the fuller sound that Tim turan got. Turan for me - but horses for courses. eh? I've noticed this in other bands too - the latest remaster of Thin Lizzy's Live and Dangerous (up there with Quo Live as one of the best live albums in existence) is thin and horrible - I had to re-buy the previous version. And the Sabbath Heaven and Hell and Live Evil deluxe remasters are also horrible - they somehow make Sabbath sound like they lack dynamism. I get your point in terms of liking the fuller sound. I prefer a fuller sound myself. But neither Tim Turan nor Andy Pearce's approach is good for me, in terms of EQ. If I buy a Deluxe, is for the extra content, not for the sound. Some Deluxes do sound good. There are some remasters from 2005/6 that sound better than the Deluxes, in terms of EQ. ITAN, is a good example. As for Hello!, for instance, or Quo, the Deluxes sound better. I agree with you: the Deluxes sound thin. Like I said some posts ago: "thin-and-muddy". Lots of mids and no base to them. I suppose Andy Pearce wants to bring the guitars more to the front. But it's exaggerated. Sitting in circle and recording it has nothing to do with having a thinner or fuller sound, though. Not in these terms, at least. I don't really mind them not recording in circles, as long as everything fits. There are songs with the FF lineup, where they recorded together and it seems they didn't, just because the drums don't follow the rest, for instance (Don't Drive My Car always reminds me of this...). So it feels like played at two different times. If they are careful at recording-time, then this shouldn't happen (they should keep re-recording until stuff fits with each other, even if they are recording separately). Just a disclaimer: if it was with me, I'd prefer recording with the whole band, though. But it doesn't bother me as much as it does with some other people.
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ant
Rocker Rollin'
Quo covers & more https://www.youtube.com/channel/UCfcyZng8z03-RpOhdWdawvw
Posts: 625
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Post by ant on Nov 17, 2019 13:39:18 GMT
Disagree with you both on this one - I much prefer the 2005/6 Turan remasters to the latest lot. I couldn't believe how thin the new lot are - to the extent that I will only buy ones with things I REALLY want on them. It's strange to think that we hear people asking for Quo to sit in a circle so that they can record with no separation and then dislike the fuller sound that Tim turan got. Turan for me - but horses for courses. eh? I've noticed this in other bands too - the latest remaster of Thin Lizzy's Live and Dangerous (up there with Quo Live as one of the best live albums in existence) is thin and horrible - I had to re-buy the previous version. And the Sabbath Heaven and Hell and Live Evil deluxe remasters are also horrible - they somehow make Sabbath sound like they lack dynamism. I get your point in terms of liking the fuller sound. I prefer a fuller sound myself. But neither Tim Turan nor Andy Pearce's approach is good for me, in terms of EQ. If I buy a Deluxe, is for the extra content, not for the sound. Some Deluxes do sound good. There are some remasters from 2005/6 that sound better than the Deluxes, in terms of EQ. ITAN, is a good example. As for Hello!, for instance, or Quo, the Deluxes sound better. I agree with you: the Deluxes sound thin. Like I said some posts ago: "thin-and-muddy". Lots of mids and no base to them. I suppose Andy Pearce wants to bring the guitars more to the front. But it's exaggerated. Sitting in circle and recording it has nothing to do with having a thinner or fuller sound, though. Not in these terms, at least. I don't really mind them not recording in circles, as long as everything fits. There are songs with the FF lineup, where they recorded together and it seems they didn't, just because the drums don't follow the rest, for instance (Don't Drive My Car always reminds me of this...). So it feels like played at two different times. If they are careful at recording-time, then this shouldn't happen (they should keep re-recording until stuff fits with each other, even if they are recording separately). Just a disclaimer: if it was with me, I'd prefer recording with the whole band, though. But it doesn't bother me as much as it does with some other people. I'm enjoying this conversation. I have the theory (and I'm talking generally now rather than Quo specific) that when albums were first remastered specifically for CD in the mid 2000s that the constraints of vinyl were removed and kitchen sinks were thrown at the mastering. Then the latest round of remastering heard that and seperation became everything. That works well for some bands but (in my specific tastes) not for all and less so for the music I prefer. So we seem to be reacting to earlier processing to a certain extent.
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Post by sqcollector on Nov 20, 2019 13:16:27 GMT
I'm enjoying this conversation. I have the theory (and I'm talking generally now rather than Quo specific) that when albums were first remastered specifically for CD in the mid 2000s that the constraints of vinyl were removed and kitchen sinks were thrown at the mastering. Then the latest round of remastering heard that and seperation became everything. That works well for some bands but (in my specific tastes) not for all and less so for the music I prefer. So we seem to be reacting to earlier processing to a certain extent. Not sure if I follow your reasoning. CD lifted any constraints, simply put. It was easier to mess with the sound. And it was portable (more than cassettes). Then the loudness wars appeared, motivated by the portability CD offered (listening in the car or through mobile devices, in crowded environments). And by some other alleged reasons, like "Consumers prefer louder audio", which is not factually true. Although if you compare the same song (even same mastering), but with different volume levels, you'll probably prefer the one with higher volume, because you're listening to more music. This doesn't make sense on a CD (or an album in general), because if all songs are loud or quiet, the relative difference between them is the same. But if you are sending your song to the radio, there's your motivation for it to be louder (this is companies' reasoning). Which is also stupid, because radios compress audio nevertheless. So... The thing is with platforms like Spotify and others, where you can mix several artists. So if the following music sounds louder than the previous, the companies assume it will win... Regarding the EQ, with CD and with time, mastering tended to deliver more bass and more treble. It's trends. In 2005/2006, the loudness wars were at peak. Hence the super compressed audio. As for the EQ chosen, that usually goes for personal taste, I'd say. But it seems to me that, when someone is contracted to master a lot of stuff just for the sake of re-releasing some older albums in order to make some money, the approach taken is doing it as fast as possible, to pay less for the whole process. Which translates into choosing a "default" EQ and apply it to everything (possibly adapt here and there). The "Rock EQ" was a standard in mobile devices, software and even stereo systems at the time (both for home and car). This EQ (also known as the V EQ) boosted highs and lows and slightly cut the mids. Gives a bit of a hollow sound. But it doesn't sound bad per se, especially because our ears react more to mids (the mids are that frequency that will make it sound bad, let's say it like that. Despite giving body to the mix). So, that EQ gives the impression the music will sound "better" in some sense (less "oh" sounds). So it was a bit trending, I'd say. It also delivers some punch (from lows) and air (from highs). And I remember lots of people using it, sometimes just because the EQ was named "Rock EQ" and they were listening to Rock music. This is to say that perhaps that motivated applying such EQ to the 2005/2006 remasters. But that kind of EQ won't allow you to crank up the music so much because it might actually hurt your ears due to the high amplitude on sub, low and very high frequencies. And since the body of the song will be a bit dampened (the mid frequencies), there's where you'll lose it (not enough volume for it, the body). I think this is one of the reasons why Paxman's albums sounded so muddy: less highs, less lows -> more body (relative to highs and lows) -> louder impression. Considering all of his albums were mastered loud, I think this makes sense. Andy Pearce also boosting some mids might be because of this: louder impression (like I said above, our ears react more to mids), especially when considering he is also compression the songs a larger bit. But I believe he is also trying to push the guitars to the front (guitars live more on the mids). All of this because I don't think separation is a motivation, in general, like you are suggesting. I think it really depends. Quo are about guitars (considering the 50 year career span). I guess that's his approach. But he also seems to be applying that kind of EQ blindly. And then we end up with songs and albums that lost the snare punch and base (ITAN and BTB are good examples). Don't take any of this as fact or anything. I've read a lot and this is what I've gathered along the years. With experience and by (re)searching. I might be wrong. Anyone is free to prove me wrong and enlighten me. And as you can guess, I'm enjoying the conversation as well.
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Post by frozenhero on Nov 20, 2019 17:27:51 GMT
I'm assuming that on the deluxe of Perfect Remedy, we will be getting 3 live tracks from the Rocking All Over The Years video but not the whole gig? It's basically the video. I listened to the test discs yesterday and today. The missing tracks are still missing. Not ideal but still very good.
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Post by Quoincidence on Nov 20, 2019 21:13:34 GMT
I'm assuming that on the deluxe of Perfect Remedy, we will be getting 3 live tracks from the Rocking All Over The Years video but not the whole gig? It's basically the video. I listened to the test discs yesterday and today. The missing tracks are still missing. Not ideal but still very good. They were going to include the audio for the full gig from the 17th December gig, night prior to the "Rocking All Over The Years" gig filming at the N.E.C.. The only reason they didn't bother in the end is because there is audible tape noise and it seems to be a very rough mix perhaps either done on the night or in the weeks following, and I definitely understand Rossi telling Rick that it must just be his ears because his guitar tone was bright as f*ck on the video, because it was at the first show in Birmingham. Having heard the whole gig from the 17th, I have to say the boys played better the following night! Rossi's solos during The Power Of Rock from the 17th gig are shocking in comparison to the following nights blinding performance.
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Post by Quoincidence on Dec 7, 2019 15:50:01 GMT
Stage Tape click track is audible on this mix until it cuts off during the tempo change
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Post by sqcollector on Dec 7, 2019 16:47:39 GMT
Stage Tape click track is audible on this mix until it cuts off during the tempo change Well, they were better on the next day. Rick's voice was better and Francis played better. And the mix seems a bit problematic, in some parts. But I like how clean the drums are. The lack of a master compression really makes them live. Fun fact related to what you said: on the studio version of Ain't Complaining, at the beginning, when the voice is only on one channel, if you amplify the other channel, you can hear the click track as well.
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