Mirror Spock, Ebbetts and others: How do they measure up for you, now?

Fan created remixes and rare variations
RalseiDeltarune
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Re: Mirror Spock, Ebbetts and others: How do they measure up for you, now?

Post by RalseiDeltarune »

I'd have to compare them all before I'd come to a definitive conclusion. I have a big MEGA link full of DESS needledrops, but I haven't gotten my hands on any Mirror Spock releases to my knowledge. I have an excellent sounding half-speed master Australian needledrop of Sgt. Pepper from PBTHAL, though. Probably my second favorite way of listening to the album next to the 2017 Mix.
Interested in any/all Bootlegs. Sometimes I make my own.

Catalog is posted here: viewtopic.php?f=12&t=2649
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Lord Reith
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Re: Mirror Spock, Ebbetts and others: How do they measure up for you, now?

Post by Lord Reith »

Patrick Healy wrote: Tue Jun 21, 2022 3:14 pm
Ziggy C wrote: Mon Jun 20, 2022 6:49 pm
Patrick Healy wrote: Mon Jun 20, 2022 6:21 pm Regarding Giles I don't think his stereo mixes and mastering are intended for audiophiles. I think they're intended for the iPhone-and-headphones generation...
I'd disagree in that the professional studio mixing set-up often has at least a couple sets of speakers going. This is so that a mix can be created for the so-called iPhone/headset (probably listened to with studio headphones during the mix,) the car, and finally the home system. I'd doubt that Giles focuses on just one listening milieu as he performs his "magic." I think the issues that some us are pointing out are simply due to the fact that he's not his dad.
I'm not saying he focuses exclusively on teenagers I'm saying his mastering, especially, is less audiophile-oriented than we would like it to be. Sorry if that was unclear.
CDs changed everything because after that there was no limit to how much bass and treble could be added. A vinyl lp had to be fairly true to the original master tape eq-wise because otherwise the needle would jump or you'd get high frequency distortion. At first with cds it was just a little bit of sweetening, then the rot set in and the Bass Wars and the Loudness Wars began. That was the end of the audiophile era in my opinion. Now there's no going back, because if anyone does a straight mix with normal dynamics and eq, it sounds limp next to all these souped-up remasters. Short of erasing every existing remaster past about 1994, we are stuck with it now because it has become the norm.

I think Ebbetts hit a good balance overall with his eq, adding a bit more bass and a bit of shimmer. The EP's set is not accurate to the original records, but it does sound quite nice.
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RLester
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Re: Mirror Spock, Ebbetts and others: How do they measure up for you, now?

Post by RLester »

Thanks again, gents, this is educational and interesting. And, again, thanks for your beautiful work.

Lord Reith wrote: Fri Jun 24, 2022 7:07 am
Patrick Healy wrote: Tue Jun 21, 2022 3:14 pm
Ziggy C wrote: Mon Jun 20, 2022 6:49 pm

I'd disagree in that the professional studio mixing set-up often has at least a couple sets of speakers going. This is so that a mix can be created for the so-called iPhone/headset (probably listened to with studio headphones during the mix,) the car, and finally the home system. I'd doubt that Giles focuses on just one listening milieu as he performs his "magic." I think the issues that some us are pointing out are simply due to the fact that he's not his dad.
I'm not saying he focuses exclusively on teenagers I'm saying his mastering, especially, is less audiophile-oriented than we would like it to be. Sorry if that was unclear.
CDs changed everything because after that there was no limit to how much bass and treble could be added. A vinyl lp had to be fairly true to the original master tape eq-wise because otherwise the needle would jump or you'd get high frequency distortion. At first with cds it was just a little bit of sweetening, then the rot set in and the Bass Wars and the Loudness Wars began. That was the end of the audiophile era in my opinion. Now there's no going back, because if anyone does a straight mix with normal dynamics and eq, it sounds limp next to all these souped-up remasters. Short of erasing every existing remaster past about 1994, we are stuck with it now because it has become the norm.

I think Ebbetts hit a good balance overall with his eq, adding a bit more bass and a bit of shimmer. The EP's set is not accurate to the original records, but it does sound quite nice.
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