The only track I have extensive exposure to over the decades is “My Sweet Lord”, so this is where the focus stayed. Streamed the 50th Anniversary Edition of ATMP in 24 bit over Qobuz via Linn Selekt Katalyst DAC.
Generally, your comments are spot on: the sonic are pretty much what I recall from decades past. There was not any new revelations in new data or new layers based on recollection. What was obviously improved were the dynamics & soundstage, especially noticeable in the separation between guitar, lead vocals and background vocals.
But again, the tonal qualities of those layers did, as you say, lack clarity. |
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The vocals are dry, and the album sounds smaller due to an attempt at "de-Spectorization." I don't like the remix at all. |
Agree there seems to be a vail over the sound, isn’t it a pity. |
Doe's this mean "wah wah" will still make me wah wah over the poor SQ?
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yes, it does tablejockey!
I was hoping for a bit more on the sound side. It seems others agree. That demo record Dahni released sounds spooky real and good, showcasing Harrison like I haven't really heard--if in his Beatles years he was usually buried back in the mix a bit. |
Fremer had a review in Analog Planet blog and didn't have much positive to say. I'll stick to my original Lp's and 2001 CD set. One of my all time favorite Lp's listen the way George originally wanted it to sound. |
"The vocals are dry, and the album sounds smaller due to an attempt at 'de-Spectorization'."
Interesting, given that Dhani said "de-spectorization" was not his intent.
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The new mastering is a mixed bag along the lines Fremer indicates. If you value another perspective on the music then…… |
Bobby Whitlock (organist, pianist, harmony singer on ATMP, member of Derek & The Dominos) savagely panned the LP version of the reissue. |
It is available on Spotify along with other prior releases for those subscribers interested in a peek. |
From the Fremer review: "The top end is incredibly dull. There’s no sparkle or air. Horns are dull, transients are dull, there is mid-bass bloat that casts a thick warmth over everything. You have to crank it way up to restore any life whatsoever to the proceedings. And the level of compression is absurd. It’s DOA".
He asserts the above is true, across the board, no matter the format. Link to review: https://www.analogplanet.com/content/all-things-must-pass-remix-quiet-beatle-gets-final-word |
Thanks Stuart, I've been meaning to see what Fremer has to say about it. Though Bobby Whitlock is probably not an audiophile, and in all likelihood has a mid-fi at best system, his description of the 50th is right in line with your Fremer quote.
Too bad Dhani and Hicks didn't bring Whitlock and Clapton in to collaborate on the remix. A lost opportunity for sure. |
See my first comparison on What's on your turntable tonight thread. |
I own the 5-CD set. It will take a few weeks to delve into this latest iteration of a Classic album.
Happy Listening! |
It's now possible to compare the 2014 remaster and the 50th anniversary on spotify. Even on my computer speakers, the differences are fairly obvious. The The 50th A. features more up-front vocals and at first, an refreshing overall impression of clarity. I say "impression", because I became increasingly aware that drums and bass have also been accentuated which, to my ears, makes for muddy lower mids despite a relative improvement in clarity up top. This muddiness is something certain youtube reviewrers have complained about. Harrison was not that strong of a vocalist and I actually prefer the 2014 version, where his voice sits more in the mix, rather than standing out. Ironically, I found the 2014 more emotionally engaging. Of course, others will hear differerently. |
I didn't mention that, compared to Fremer I didn't hear "an incredibly dull" top-end. For one thing Harrison's slide parts sounded more vivid and three dimensional to me. But unlike Fremer, I'm listening on cheap computer speakers when making these comparisons. |
@stuartk ,
"The top end is incredibly dull. There’s no sparkle or air. Horns are dull, transients are dull, there is mid-bass bloat that casts a thick warmth over everything. You have to crank it way up to restore any life whatsoever to the proceedings. And the level of compression is absurd. It’s DOA".
Absurd levels of compression?
In other words, what Michael Fremer is saying is that the 2021 ATMP is very modern in its presentation.
Guess we’ll have to wait for the 60th anniversary. On second thoughts, maybe not. |
@cd318:
RE: "very modern. . . presentation", Dhani did say something about wanting to bring the sound up to date for younger generations. . . I guess he delivered on his promise.
A cynical view would be that he's trying to ensure continuing sales once Boomers all die off.
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