pelliott wrote:Side D is live recordings of Holy Mountain and Sonic Titan on my Southern Lord reissue.
Those brilliant bastards. the Southie CD (FAWKIN SOUTHIE WHITEY BULLGUAHH BRO) only has the Holy Mountain. So if you missed out on the Tee Pee, you'd need the record to get Sonic Titan. Crafty.
D.o.S. wrote:It has to do with the width of the groove required for the song (which has a lot to do with mastering). You try to fit too much music on one side, you're not going to have enough space for the proper amount of low end.
You are totally right with this. As you are getting closer to the center of the vinyl disk the physical space gets much tighter and it is much harder to get the grooves to correctly translate a higher level of clarity, especially the low end. This is why a lot of older records will have a softer song like a ballad closer to the center of the disk.
And as someone else said vinyl needs to be master differently compared to digital otherwise you don't get the most out of the medium. Thats why a lot of vinyl reissues are not as good as earlier releases. Often the reissues are made with just the digital masters rather then a totally remastered version designed for vinyl.
I have only listened to the album on the new remaster vinyl a few times since I got it. I normally just listen to the 320k mp3 since that is on my computer. But you guys are making me want to go home and pop on the vinyl.
It's also why so many older preamps and speakers have a natural boost to the lower frequencies.
And, to win a drink at some bar on trivia night, the reason Paul McCartney's basslines were often an octave higher than you might expect on those early Beatles records... because they'd translate better over the shit car speakers of the era.
D.o.S. wrote:It's also why so many older preamps and speakers have a natural boost to the lower frequencies.
And, to win a drink at some bar on trivia night, the reason Paul McCartney's basslines were often an octave higher than you might expect on those early Beatles records... because they'd translate better over the shit car speakers of the era.
In my old Escort I really never listened to real bass heavy stuff because of that fact. Loud guitars and mid range frequencies were about the only thing that covered the sound of the speakers being overworked since I had to keep my windows open all the time.
awesome signature with witty quotes from all you fuckers
I've noticed whoever presses records for Southern Lord always seems to make the hole in the middle too small. Nearly broke Sunn's Domkirke in half trying to get it off my turntable. Now I can't listen to that album again or until I get another turntable
Well, I finally listened to the whole thing and... I hate to say this because I gather the band didn't like the London mix as much... but I prefer it. Surely part of it is me being a stick in the mud and going with what I'm used to. But that's part of the concept, as well -- it's a drone, and it's all-consuming; it's hard to accept change in those feelings it conjures. And it's too bright; it feels showy now, when the solo kicks in it's just another metal band; sure it's still awesome, and I'm blowing it out of proportion, but that's how it makes me feel compared with Jerusalem. Jerusalem is dark and just right. I'll give it more chances though... I definitely love the new cover art!
