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Post by hollowmoor on Jun 10, 2011 18:38:47 GMT
Hello all,
As I'm sure you all know by now, earlier this year renown audio engineer/producer and musician Steven Wilson was tasked with the job of revisiting the original Aqualung (and related) multi-track tapes to produce a new stereo and 5.1 surround mix for the forthcoming special edition anniversary release of the album.
Steven has already gained considerable plaudits for his recent work remixing the King Crimson back catalogue and his stereo remixes attempt to be as faithful to the original mix as possible but with an improved (in some cases vastly improved) sound quality which no remastering can ever hope to achieve.
He has very kindly agreed to take part in a Q&A session with us here on the Tull forum so please feel free to post questions regarding his work on Aqualung or other projects which will be sent to him at a later date.
Please bear in mind that Steven won't be able to reveal any specific details regarding the Aqualung release until EMI have 'gone public' so there will be a month or two delay before we can publish his response. But you can get your questions in now........
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Post by Deleted on Jun 10, 2011 21:07:46 GMT
Let's post what we know so far.  jethrotull.proboards.com/index.cgi?action=display&board=general&thread=1483&page=1Steven Wilson New Member Join Date: Jun 2011 Location: LONDON About the Aqualung remix, this was all done at 96K and in particular the new stereo mix is something that I'm very proud of, since the recording was not done under the best circumstances (though what's on tape is better than the original mix would suggest). Having failed to get EMI to go Blu-Ray on this (which is the high res audio format I'm moving to for a forthcoming solo record), I'm still urging them to at least do a DVDA. The problem with the major labels is that although there are genuine music lovers still in these companies, they are beholden to the accountants who run things. This was not an issue with Crimson reissues because Robert owns all the copyrights, so we could do what we wanted with them. I'm going to pursue the idea of somehow trying to make the high res formats available if the companies won't do it, but don't hold your breath - there's a lot of bureaucracy involved. At least the success of the Crimson reissues has led a to more and more artists from this era coming to the conclusion that a sympathetic remix (by which I mean one that is super faithful to the original mix in every respect, using the same balance, EQ, stereo placement, plate reverbs..etc..), can do what no amount of remastering the original mixes can do in bringing out sonic clarity. So in terms of the model of deluxe editions with the original mix, a new stereo mix, 5.1 mix, and mixes of previously unheard out-takes found on the reels, there are more of these kind of projects on the way, though I can't say more at present. I just hope that more often that not we can incorporate a high res format into these editions. Watch this space I guess... SW "Guys - I've had confirmation from EMI that they are going with a regular DVD for my 5.1 mix. On the plus side the original 70's quad mix will also be included, and both the old and new stereo mixes at 96/24." SW - Steven Wilson Cheers! |
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Post by Deleted on Jun 10, 2011 21:12:12 GMT
Too bad: High res is up to EMI - people around the web are upset that this will not be high res. No blu-ray no DVD-A.  |
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Post by oksauce on Jun 10, 2011 22:13:39 GMT
Hello steven,
Just wanted to say I'm a massive Porcupine Tree fan, I saw you at Colston Hall in Bristol in October 2009, it was a brilliant performance. Right, on to the questions.
Have you been a Jethro Tull fan since you first started exploring progressive rock in the 1980s? If so, to what extent and did this give you a preconception of what the remaster should sound like?
If there's room for another question, is there any chance of you and Ian Anderson working together at all? You're both intelligent, observant musicians and I think it would be an interesting combination.
Thanks a lot!
Tom, Swansea
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Post by captainfalcon on Jun 11, 2011 11:58:18 GMT
First, thanks for the Q&A session! Jethro Tull is by far my favourite band. But I also like Porcupine Tree a lot. So this cooperation means a lot to me. Here are my questions: 1. Could you imagine working together with Ian Anderson on new material, either for the next Jethro Tull record or the next Porcupine Tree album? 2. Do you mix the new Jethro Tull album, which is supposed to come out in april 2012?  3. What about the remix of Thick as A Brick? 4. I'll tell you my dream: The 2012 Jethro Tull mega world tour, with Thick as a Brick played in its entirety, the new album and the special guest Porcupine Tree, with you joining Tull on stage for a few songs and Anderson/Barre joins your set. Any chance that my dream will come true? 5. When can we expect the next Porcupine Tree album. By the way, the current Blackfield album is also great. Greetings, from Germany... |
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Post by evickers on Jun 11, 2011 13:54:42 GMT
Hi Steven, It's great to hear you're working on this project! I was wondering what the philosophy will be regarding dynamic range and hypercompression. The Jethro Tull recordings had great dynamics, and it would be a shame (and pointless) to sacrifice that to the Loudness War. So I'm hoping you can take an approach similar to that used for the recent Beatles box set, with only a minimal amount of limiting. I gave a presentation on the Loudness War last fall to the Audio Engineering Society; there's a video at www.sfxmachine.com/docs/loudnesswar/ Looking forward to this release! Earl |
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Post by Deleted on Jun 11, 2011 14:39:00 GMT
Hi Steven, It's great to hear you're working on this project! I was wondering what the philosophy will be regarding dynamic range and hypercompression. The Jethro Tull recordings had great dynamics, and it would be a shame (and pointless) to sacrifice that to the Loudness War. So I'm hoping you can take an approach similar to that used for the recent Beatles box set, with only a minimal amount of limiting. I gave a presentation on theevickers last fall to the Audio Engineering Society; there's a video at www.sfxmachine.com/docs/loudnesswar/ Looking forward to this release! Earl Hello evickers, Fantastic, God bless, fight the good fight against loudness. Has this presentation been posted on Steve Hoffman Forums? If not, can I post it? Please. Cheers! |
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Post by evickers on Jun 11, 2011 14:58:46 GMT
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Post by Deleted on Jun 11, 2011 17:24:15 GMT
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Post by futureshock on Jun 12, 2011 9:14:12 GMT
Glad to hear this project uses the individual tracks and is a remix vs just another remastering. That will allow EQ, compression and general tonal quality to be totally under the control of the engineer and the sound will probably be amazing. I have an old MFSL Aqualung on vinyl and it was impressively better than the standard vinyl, I can only imagine what a leap of quality is available for Aqualung by hitting the individual tracks again. Good news!
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Post by nonrabbit on Jun 12, 2011 17:14:18 GMT
Thanks for this hollowmoor *thumbs up* Hi Steven Thanks for taking the time much appreciated. May I widen the net a bit with the questions and ask; What period of time would you like to have been involved with in music or are you happy with the present? Can you predict what we will be listening too (and by which method) in say twenty/thirty years time? All the Best Patti Fermanagh |
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Post by hollowmoor on Jun 12, 2011 17:39:28 GMT
Right then, here's my set of nerd-level questions 1) On first inspecting the Aqualung tapes (16 track?, 8 track for the June 1970 sessions?) what sort of condition were they in and did they need baking? 2) How many takes generally did Tull need to get a song right and were there any songs in particular that went through a high number of takes before settling on the master take? 3) Did the songs evolve much from take 1 through to the master or was the structure of a particular song already clear from take 1? 4) What did you discover on the June 1970 tapes recorded at Morgan studios? How many songs did Glenn Cornick actually play on and were any of these early versions used on the final album? Has the June '70 version of My God survived? 5) Both John Evans and Jeffrey Hammond reported in various interviews that Aqualung was effectively recorded twice - once in December 1970 and again in February 1971 however a contemporary report in NME around March '71 indicates that only 3 songs were re-recorded in February to bring them into line with how they were being played live during the Jan/Feb '71 European tour. What did the tape boxes reveal concerning recording dates etc? 6) Regarding sound quality, there has always been a very noticable drop in quality on the released version of My God when the monk-like chanting is heard. I guess this is down to using reduction mixes to layer Ian's multiple vocal parts. Did the various multi-tracks exist to allow you to unravel all of these vocal parts and the remix to be made from first generation sources? 7) Was there any interesting between takes chatter found on the multi-tracks like that on the Beatles multi-tracks? |
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Post by maddogfagin on Jun 13, 2011 7:27:41 GMT
Right then, here's my set of nerd-level questions 1) On first inspecting the Aqualung tapes (16 track?, 8 track for the June 1970 sessions?) what sort of condition were they in and did they need baking? 2) How many takes generally did Tull need to get a song right and were there any songs in particular that went through a high number of takes before settling on the master take? 3) Did the songs evolve much from take 1 through to the master or was the structure of a particular song already clear from take 1? 4) What did you discover on the June 1970 tapes recorded at Morgan studios? How many songs did Glenn Cornick actually play on and were any of these early versions used on the final album? Has the June '70 version of My God survived? 5) Both John Evans and Jeffrey Hammond reported in various interviews that Aqualung was effectively recorded twice - once in December 1970 and again in February 1971 however a contemporary report in NME around March '71 indicates that only 3 songs were re-recorded in February to bring them into line with how they were being played live during the Jan/Feb '71 European tour. What did the tape boxes reveal concerning recording dates etc? 6) Regarding sound quality, there has always been a very noticable drop in quality on the released version of My God when the monk-like chanting is heard. I guess this is down to using reduction mixes to layer Ian's multiple vocal parts. Did the various multi-tracks exist to allow you to unravel all of these vocal parts and the remix to be made from first generation sources? 7) Was there any interesting between takes chatter found on the multi-tracks like that on the Beatles multi-tracks? Oh bu99er, I was going to ask these questions myself, now I've got to think of some more |
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Post by tuunaine on Jun 14, 2011 9:17:57 GMT
A question for Steven Wilson:
Clive Bunker told me a few weeks ago that recording Aqualung was difficult, because Ian Anderson did not know in the beginning of the process how to materialize the vision he had in his mind. Are there any signs left in the remaining tapes of this attempt to attain the goal? Would it be possible to reconstruct the creative process behind the final outcome?
Best,
Juha
Helsinki
Finland
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Post by maddogfagin on Jun 14, 2011 18:18:13 GMT
Whilst we must all applaud your work on the current Aqualung project, if you had a crystal ball, what major advances would you foresee in, say, the next 25 years and if you were working on this and other similar projects in 2036 what format or formats would you expect to see the completed project finished on.
Graham
Cornwall, (the home of the pasty, the original take away food.)
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Post by rttullfan on Jun 24, 2011 17:48:57 GMT
Steven!
Did you listen to the Quadraphonic mix before you started mixing in 5.1? If so, how much influence did the Quad mix have on your own mix?
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Post by kozlorf on Jul 1, 2011 14:33:06 GMT
Hello Steven, 1. Nice to meet you again - I was lucky to meet you at the playout session of the remixed surround King Crimson albums in Lyndhurst Hall almost 2 years ago. Interesting thing is, that Ian claims in one of the recent inerviews, that Aqualung was recorded in a converted church as well. Do you know whether it was the Lyndhurst Hall as well? Or are there many similar studios built in former churches? Are there any particular advantages of placing a studio there? 2. Tull was recording Aqualung in the same place and at the same time as Zeppelin (can't remember whether it was Zeppelin III or IV). Are there any traces of Zeppelin guys present at Tull multitrack tapes? 3. In particular: There is a "legend", that Jimmy Page once entered a studio when Martin Barre was recording his trademark guitar solo for Aqualung. No knowing what to do, Martin waved to him in the middle, but without actually stopping playing. Ian was once making fun of the story, saying, that if one turns up the volume of Aqualung very loudly, the waving Martin can be actually heard - becaue it was the exact take that was later used on record. Can anything like this be heard on the isolated track? 4. Which Tull album would be the most interesting one to be converted to a 5.1 remix? At the Crimson session I remember you claimed that the Lizard album is your favourite because of the multiplicity and diversity of sound layers. Is there such a Tull album for you? Thanks, Krzysztof, Poland |
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Post by steelmonkey on Jul 1, 2011 15:46:10 GMT
Great questions everyone, especially Hollowmoor, one cool 'nerd'.
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Post by hollowmoor on Jul 22, 2011 22:21:00 GMT
OK, the questions have been collated and sent to Steven.
As with the John Burns interview, I may not be able to upload all of his answers until the Aqualung set has been released. We really don't want to step on anyone's toes and reveal details that we shouldn't.
So, this'll probably be a Part 1/Part 2 arrangement again.....
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Post by hollowmoor on Jul 25, 2011 10:00:25 GMT
I've had a reply from Steven who is very busy at the moment and is not at home in the UK much (he was in Milan when he mailed).
Anyway, he requests that we restrict the questions to his remix of Aqualung and he'll e-mail his replies. "it will give me something to do on one of my plane journeys!" he says.
So, I've been through the questions and have edited them down to the following 10:
1) On first inspecting the Aqualung tapes (16 track for Island, 8 track for the April/June 1970 Morgan sessions?) what sort of condition were they in and did they need baking?
2) How many takes generally did Tull need to get a song right and were there any songs in particular that went through a high number of takes before settling on the master take? Did the songs evolve much from take 1 through to the master or was the structure of a particular song already clear from take 1?
3) Did you discover any unreleased songs or fragments on the multi-tracks? If so what were they like?
4) What did you discover on the April/June 1970 tapes recorded at Morgan studios? How many songs did Glenn Cornick actually play on and were any of these early versions used on the final album? Has the April '70 version of My God survived?
5) Both John Evans and Jeffrey Hammond have indicated in various interviews that the Aqualung was effectively recorded twice - once in December 1970 and again in February 1971 however a contemporary report in NME around March '71 indicates that only 3 songs were re-recorded in February to bring them into line with how they were being played live during the Jan/Feb '71 European tour. What did the tape boxes reveal concerning recording dates etc?
6) Regarding sound quality, there has always been a very noticeable drop in quality on the released version of My God when the monk-like chanting is heard. I guess this is down to using reduction mixes to layer Ian's multiple vocal parts. Did the various multi-tracks exist to allow you to unravel all of these vocal parts and the remix to be made from first generation sources?
7) Was there any interesting between takes chatter found on the multi-tracks like that on the Beatles multi-tracks? Any evidence of the Led Zeppelin guys in the control room?
8) Did you listen to the Quadraphonic mix before you started mixing in 5.1? If so, how much influence did the Quad mix have on your own mix?
9) Are there any other Tull albums that you would be keen to work on in a similar way as has been done with Aqualung? It’s the 40th anniversary of Thick As A Brick next year, have you been approached about this?
10) What’s the latest news regarding the audio format to be used for the release? (you may be aware of a petition being sent to EMI to give us DVD-A content, not just DVD-V).
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Post by nonrabbit on Jul 25, 2011 16:23:33 GMT
Sounds good to me Hollowmoor and there was me about to ask Steven if he was typical for his star sign |
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Post by futureshock on Sept 7, 2011 2:20:54 GMT
I want to hear this new release. Aqualung on high quality vinyl, new, was a real kicker. No CD yet has had that punch or clarity, and this new CD version will allow the full dynamic range, panning, EQ and all the rest of the bog full of audio tricks to be applied.
It will be interesting to see if any new audio details will be found. Will we hear "I buried Gerald" at the end of one track? Will Clive Bunker's squeeky hi-hat pedal finally have it's day on record? Was the lid on the piano used by John Evan for the Loco intro open or closed at the time? Did the tambourine used have single or double sets of cymbals? Was the coffee cup beside Martin to the left or the right of the guitar amp cabinet? These things we may find out.
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Post by hollowmoor on Oct 26, 2011 16:55:51 GMT
Well, here we go. On the eve of the fine release of the Aqualung special super mega anniversary limited expanded edition we have the responses to the questions we posed to Mr Wilson at the end of July......
1) On first inspecting the Aqualung tapes (16 track for Island and Morgan, 8 track for the Sound Techniques sessions?) what sort of condition were they in and did they need baking?
Actually this is a job done by the professional tape transfer guys at Abbey Road, I just get the digitally transferred multis on a hard disk drive, not very romantic that is it? (-; But I'm almost certain that they would have had to bake the tapes before making the transfer. The audio came across in pretty good shape, at least better than the original mix would have led me to believe - I hope people will find more sonic clarity and punch in the new mix.
2) How many takes generally did Tull need to get a song right and were there any songs in particular that went through a high number of takes before settling on the master take? Did the songs evolve much from take 1 through to the master or was the structure of a particular song already clear from take 1?
For most songs there was only one take was on the reels - it's possible that there were other session reels that no longer exist, but on the other hand Ian told me that he had a personal habit of always wanting to capture a spontaneous feel by only doing one take. There were a few additional takes of the acoustic pieces like Slipstream and Wond'ring Aloud, but even then it was usually the first take that Ian chose to overdub for the master, presumably for the same reason.
3) Did you discover any unreleased songs or fragments on the multi-tracks? If so what were they like?
One unreleased song called Pancake Doomsday, but it was only a studio run through without overdubs or vocals, so it has not been selected for inclusion on the reissue. There are some other alternate takes. An early version of Up the 'Pool, which is closer in feel to the short acoustic pieces on Aqualung (that one is included on the reissue).
4) What did you discover on the April/June 1970 tapes recorded at Morgan studios? How many songs did Glenn Cornick actually play on and were any of these early versions used on the final album? Has the April '70 version of My God survived?
Yes the Morgan studio version of My God has survived and it's terrific - I think one of the best unreleased out-takes I've come across from this era. It runs about 9 minutes and has a very different middle section to the released version. A 5.1 mix of that one is also included on the reissue. The other significant inclusion from Morgan is the complete 7 minute version of Wond'ring Aloud Again - if you ever wondered why the released version of Wond'ring Again on Living in the Past seems to start mid song before reprising Wond'ring Aloud at the end, then maybe now it will make sense!
5) Both John Evans and Jeffrey Hammond have indicated in various interviews that the Aqualung was effectively recorded twice - once in December 1970 and again in February 1971 however a contemporary report in NME around March '71 indicates that only 3 songs were re-recorded in February to bring them into line with how they were being played live during the Jan/Feb '71 European tour. What did the tape boxes reveal concerning recording dates etc?
If this is the case then it seems strange that we have only one version of most of the album tracks. There are earlier takes of Wond’ring Aloud, My God, Locomotive Breath, and Wind Up, but that's all. Maybe other session reels have gone missing.
<update> EMI went through all the available material and only transferred what was deemed viable.
6) Regarding sound quality, there has always been a very noticeable drop in quality on the released version of My God when the monk-like chanting is heard. I guess this is down to using reduction mixes to layer Ian's multiple vocal parts. Did the various multi-tracks exist to allow you to unravel all of these vocal parts and the remix to be made from first generation sources?
Yes, that is exactly what we have done - hopefully you will find the sonic clarity of this section much improved.
7) Was there any interesting between takes chatter found on the multi-tracks like that on the Beatles multi-tracks? Any evidence of the Led Zeppelin guys in the control room?
Actually not too much, at least compared to a lot of the multitrack masters I've remixed from this era. Usually you get studio chatter between takes, but on these tapes there aren't a lot of takes. However, there is a funny false start with chat included at the start of the 1970 Morgan Studio version of My God
8) Did you listen to the Quadraphonic mix before you started mixing in 5.1? If so, how much influence did the Quad mix have on your own mix?
I didn't hear the quad mix before I did mine - I wanted to approach the 5.1 mix without any preconceptions on how it should be done, and just trust my instinct. But I have listened to it now, and it's kind of odd - lots of reverb added to everything, and not much attempt to make it match the stereo mix (eg, no attempt to recreate the megaphone effect on the voice in the middle of Aqualung). Mine is super faithful to the original mix in terms of EQ, reverbs, instrument balance..etc..
9) Are there any other Tull albums that you would be keen to work on in a similar way as has been done with Aqualung? It’s the 40th anniversary of Thick As A Brick next year, have you been approached about this?
I would love to do Thick as a Brick, A Passion Play, and Songs From the Wood especially. TAAB has been discussed, but it's early days - first the masters have to be located, and second I think everyone will be waiting to see how well the Aqualung reissue is received before committing to doing any more.
10) What’s the latest news regarding the audio format to be used for the release? (you may be aware of a petition being sent to EMI to give us DVD-A content, not just DVD-V).
I can't say too much about that - but fingers crossed!
<update> well, now we know!
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Post by maddogfagin on Oct 26, 2011 17:51:32 GMT
9) Are there any other Tull albums that you would be keen to work on in a similar way as has been done with Aqualung? It’s the 40th anniversary of Thick As A Brick next year, have you been approached about this?I would love to do Thick as a Brick, A Passion Play, and Songs From the Wood especially. TAAB has been discussed, but it's early days - first the masters have to be located, and second I think everyone will be waiting to see how well the Aqualung reissue is received before committing to doing any more. SW working on APP - now that would be something Thanks for posting this Q&A Hollowmoor. Much appreciated. |
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Post by nonrabbit on Oct 26, 2011 19:33:45 GMT
Thank you very much Steven for taking the time out to do this and thank you very much Hollowmoor for sorting it all out. Same time next year then |
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Post by oksauce on Oct 27, 2011 0:48:04 GMT
''Pancake Doomsday'' is a reference to a lyric in the Roy Harper song ''In a beautiful rambling mess'' from Come out fighting genghis smith. Ian has mentioned before he likes this album, that's a pretty obscure reference really
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Post by rttullfan on Oct 27, 2011 1:22:55 GMT
Well, here we go. On the eve of the fine release of the Aqualung special super mega anniversary limited expanded edition we have the responses to the questions we posed to Mr Wilson at the end of July...... 1) On first inspecting the Aqualung tapes (16 track for Island and Morgan, 8 track for the Sound Techniques sessions?) what sort of condition were they in and did they need baking?
Actually this is a job done by the professional tape transfer guys at Abbey Road, I just get the digitally transferred multis on a hard disk drive, not very romantic that is it? (-; But I'm almost certain that they would have had to bake the tapes before making the transfer. The audio came across in pretty good shape, at least better than the original mix would have led me to believe - I hope people will find more sonic clarity and punch in the new mix. 2) How many takes generally did Tull need to get a song right and were there any songs in particular that went through a high number of takes before settling on the master take? Did the songs evolve much from take 1 through to the master or was the structure of a particular song already clear from take 1?
For most songs there was only one take was on the reels - it's possible that there were other session reels that no longer exist, but on the other hand Ian told me that he had a personal habit of always wanting to capture a spontaneous feel by only doing one take. There were a few additional takes of the acoustic pieces like Slipstream and Wond'ring Aloud, but even then it was usually the first take that Ian chose to overdub for the master, presumably for the same reason. 3) Did you discover any unreleased songs or fragments on the multi-tracks? If so what were they like?One unreleased song called Pancake Doomsday, but it was only a studio run through without overdubs or vocals, so it has not been selected for inclusion on the reissue. There are some other alternate takes. An early version of Up the 'Pool, which is closer in feel to the short acoustic pieces on Aqualung (that one is included on the reissue). 4) What did you discover on the April/June 1970 tapes recorded at Morgan studios? How many songs did Glenn Cornick actually play on and were any of these early versions used on the final album? Has the April '70 version of My God survived?Yes the Morgan studio version of My God has survived and it's terrific - I think one of the best unreleased out-takes I've come across from this era. It runs about 9 minutes and has a very different middle section to the released version. A 5.1 mix of that one is also included on the reissue. The other significant inclusion from Morgan is the complete 7 minute version of Wond'ring Aloud Again - if you ever wondered why the released version of Wond'ring Again on Living in the Past seems to start mid song before reprising Wond'ring Aloud at the end, then maybe now it will make sense! 5) Both John Evans and Jeffrey Hammond have indicated in various interviews that the Aqualung was effectively recorded twice - once in December 1970 and again in February 1971 however a contemporary report in NME around March '71 indicates that only 3 songs were re-recorded in February to bring them into line with how they were being played live during the Jan/Feb '71 European tour. What did the tape boxes reveal concerning recording dates etc?
If this is the case then it seems strange that we have only one version of most of the album tracks. There are earlier takes of Wond’ring Aloud, My God, Locomotive Breath, and Wind Up, but that's all. Maybe other session reels have gone missing. <update> EMI went through all the available material and only transferred what was deemed viable.6) Regarding sound quality, there has always been a very noticeable drop in quality on the released version of My God when the monk-like chanting is heard. I guess this is down to using reduction mixes to layer Ian's multiple vocal parts. Did the various multi-tracks exist to allow you to unravel all of these vocal parts and the remix to be made from first generation sources?Yes, that is exactly what we have done - hopefully you will find the sonic clarity of this section much improved. 7) Was there any interesting between takes chatter found on the multi-tracks like that on the Beatles multi-tracks? Any evidence of the Led Zeppelin guys in the control room?Actually not too much, at least compared to a lot of the multitrack masters I've remixed from this era. Usually you get studio chatter between takes, but on these tapes there aren't a lot of takes. However, there is a funny false start with chat included at the start of the 1970 Morgan Studio version of My God 8) Did you listen to the Quadraphonic mix before you started mixing in 5.1? If so, how much influence did the Quad mix have on your own mix? I didn't hear the quad mix before I did mine - I wanted to approach the 5.1 mix without any preconceptions on how it should be done, and just trust my instinct. But I have listened to it now, and it's kind of odd - lots of reverb added to everything, and not much attempt to make it match the stereo mix (eg, no attempt to recreate the megaphone effect on the voice in the middle of Aqualung). Mine is super faithful to the original mix in terms of EQ, reverbs, instrument balance..etc.. 9) Are there any other Tull albums that you would be keen to work on in a similar way as has been done with Aqualung? It’s the 40th anniversary of Thick As A Brick next year, have you been approached about this?I would love to do Thick as a Brick, A Passion Play, and Songs From the Wood especially. TAAB has been discussed, but it's early days - first the masters have to be located, and second I think everyone will be waiting to see how well the Aqualung reissue is received before committing to doing any more. 10) What’s the latest news regarding the audio format to be used for the release? (you may be aware of a petition being sent to EMI to give us DVD-A content, not just DVD-V).
I can't say too much about that - but fingers crossed!
<update> well, now we know!Relating to question #9, we now know that SW Has been working on a 5.1 mix of Thick as a Brick (cause Ian said so). |
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Post by nonrabbit on Oct 27, 2011 7:17:57 GMT
This isn't a late question for Steven but to the panel Junior is at the stage in life when he (mother) is deciding his future. As far as the career of mixer/producer is concerned is it a talent or something which you pick up as you go along it's interesting/exciting path? |
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Post by maddogfagin on Oct 27, 2011 8:02:46 GMT
This isn't a late question for Steven but to the panel Junior is at the stage in life when he (mother) is deciding his future. As far as the career of mixer/producer is concerned is it a talent or something which you pick up as you go along it's interesting/exciting path? Sounds like a University education is on the cards. |
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Post by oksauce on Oct 27, 2011 11:19:10 GMT
it'll be interesting to see what thick as a brick is like, it not being an album that has issues like aqualung. And I wonder what bonus tracks there could be
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