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I haven't listened to my copy yet...which version is "Ticket To Ride" the 1969 version or 1973? I prefer the 1973 version but the 1969 version has Karen still growing into that "sound".....I did a comparison earlier in this thread of side 1.
I have listened to all four sides. I did adjust the bass on my receiver down a little and I enjoyed the albums. Live the white vinyl. Glad I bought.
My copy #1033 white vinyl, no grey or black streaks, when I listen to it, I will use headphones.....i received my copy today, and, I also received white, 2090.
Amoeba Music online $29 free shipping, I ordered mine on November 8th, received in the mail November 13thWell, that didn't take long,
The lowest price for the WHITE VINYL on the world's largest internet auction site this morning: $35.81 w/free shipping.
Richard may be fussy about stuff, but if he is attached to anything Carpenters related, it's going to be of the best quality. Am not buying the vinyl boxed set but will replace some of my favorites, Like "Ticket", "Horizon", "VOTH", "Lovelines", I just can't afford to buy the set all at once, but have to resort to buying them individually...So I just got word from Richard that he did not approve of this release, is very unhappy with the cover art as well and is on the phone with UMG. I'd asked him to sign a copy for me, and when he saw it he was anything but happy. Needless to say, the insight brought to light here via the rest of the thread is correct. This isn't something that Richard endorsed.
Just an FYI...
Agreed--the samples from the three albums seems like a consistent trend. Probably best that I pass on it, then. Funny that someone with a parametric EQ and a good ear could probably tweak that entire set just enough to make it sound more natural, with minimal effort. Essentially, if you lock in on a lead vocal or instrument and EQ to make it sound as natural as possible, the rest of the track usually falls right into place. There is no telling what MOV was sent from UMG to work with on this one.I'm not sure there is a need to continue on with the rest of the comparison as there seems to be a trend.
Those were released around 1998, so it's hard to say if it was just a poor mastering job for CD, or if they are running up against the limitations of standard-resolution digital. There are subtle things that happen at 16-bit/44.1kHz digital that I can hear, for example, a slight roughness in the highs, and a reduction of reverb trails that make it sound subtly more "dry." We also don't know if the album masters were converted to digital at a higher bitrate (like 24-bit, and either 88.2kHz or 96kHz), then downsampled for CD. I would hope so, as that would mean a higher-resolution version would be available for future masterings. (Yes, even to vinyl.)As I mentioned before I'm just not a huge fan of the Remastered Classics (original album mixes on CD) to me they should sound exactly like the original Lp's and while they are the original album mixes the mastering on the CD's don't have the same sound as the original LP's ....
A few years ago, I started to convert my original Carpenters LPs to digital, at 24-bit/96kHz, and authored them as DVD-Audio. When I was recording them into Adobe Audition, I noticed on the level meters that there were high frequencies coming off the LPs that were not present on the CDs of those titles (due to the limitations of the CD format I suppose). Those high frequencies are supposedly beyond the audible range of human hearing, but would possibly account for the more "open" sound of the LPs. Although I'm happy with my original vinyl, and won't be buying the new box set, for the sake of those who are, I certainly hope that those LPs weren't mastered from the 16/44.1 CD transfers! That would beThose were released around 1998, so it's hard to say if it was just a poor mastering job for CD, or if they are running up against the limitations of standard-resolution digital. There are subtle things that happen at 16-bit/44.1kHz digital that I can hear, for example, a slight roughness in the highs, and a reduction of reverb trails that make it sound subtly more "dry." We also don't know if the album masters were converted to digital at a higher bitrate (like 24-bit, and either 88.2kHz or 96kHz), then downsampled for CD. I would hope so, as that would mean a higher-resolution version would be available for future masterings. (Yes, even to vinyl.)
I have been using a TASCAM DA-40 for my needle drops, which is 24/96. One thing I noticed while editing in Izotope is that I could see the 27kHz resonance in my cartridge using the spectrum analyzer. Can't hear it, but it was interesting to see at any rate. (Kind of wish I had my previous cartridge, as it had a far shorter cantilever and apparently didn't have any resonance until maybe 100khz, as it was a diamond rod.)A few years ago, I started to convert my original Carpenters LPs to digital, at 24-bit/96kHz, and authored them as DVD-Audio. When I was recording them into Adobe Audition, I noticed on the level meters that there were high frequencies coming off the LPs that were not present on the CDs of those titles (due to the limitations of the CD format I suppose). Those high frequencies are supposedly beyond the audible range of human hearing, but would possibly account for the more "open" sound of the LPs.
Did I miss it ?
I am really interested in reading a review about how
Still Crazy After All Theses Years
sounds......
This will tip the scales for me.......