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j.w.Was war denn so schlimm daran?
Es ist eigentlich seit vielen Jahren klar, dass SACDs und DVD-As schon aus wirtschaftlichen Gründen keine Alternative zur CD darstellen: die Verkäufe waren unterirdisch, wenn es sich um reine SACD-Produkte handelte. SACDs waren nie eine wirkliche Alternative für den Massenmarkt, sondern eine Spielerei einiger Audiophiler. Das Thema ist durch, aber einige (nicht Du) haben sich mit den Zähnen daran festgebissen, wie an eine Laser-Disc.
j.w.Inwiefern? Kannst Du das bitte etwas konkreter ausführen bzw. belegen?
Ich überlasse das Herrn Luke Pacholski (der Text behandelt die 2002er Ausgabe):
http://www.lukpac.org/stereostones/stones-cd-faq.txt
The old ABKCO set was alarmingly uneven. The Singles Collection purported to
finally collect all of the Stones Decca-era singles into one place; consequently, most
assumed that the single MIXES would also be used. This was, sadly, not entirely the case,
and consequently the Singles Collection’s value was tremendously diminished.Thankfully, the new ABKCO release rectifies this somewhat, as the new set gains
many single mixes. The problem is, it also LOSES a few tracks, and there’s some suspect
stuff going on that suggests that forgeries still plague the set. Also, it’s quite obvious that
more care was taken on the more „universal“ tracks than the tracks that only appear here;
like Between the Buttons, there’s an awful lot of extreme fidelity-switching going on.
Lastly, when tracks are in mono, the new ABKCO set is correctly in pure mono, while the
old one is out of balance most of the time (i.e. tracks were transferred in stereo). Note
also that while individual tracks on the ABKCO remasters aren’t digitally corrected to
mono, they *are* here (i.e. if one takes „Gotta Get Away“ out-of-phase on the new
ABKCO December’s Children, there’s a ghost image of the music left, but if one takes it
out-of-phase here it cancels perfectly).So without further ado, an easy disc by disc comparison:
„Come On“ was slightly murky and indistinct on the old set; it sounds „normal“
on the new set, which is a distinct improvement. „I Want to Be Loved“ is louder and
clearer on the new set. „I Wanna Be Your Man“ actually sounds like a slight downgrade,
as the version on the new set seems to be totally lacking top-end; however, this might
match the EQ of the original single. „Stoned“ is louder. „Not Fade Away“ is almost
identical. „Little by Little“ sounds similar, but has the usual aggressive EQ applied. „It’s
All Over Now“ sounds slightly better, but the stereo version is still preferred here. „Good
Times Bad Times“ always sounded markedly similar on the old set and on the old
London More Hot Rocks. Here, it sounds like it’s been taken from a slightly better tape,
as it runs ever so slightly faster, with a better sound on the acoustic guitars. „Tell Me“
sounds a lot better here, but it’s suddenly no longer the single edit; instead, ABKCO
merely uses the same tape as on More Hot Rocks. „I Just Wanna Make Love to You“ is
louder. The old ABKCO set accidentally used the guitar-intro version of „Time is On My
Set,“ whereas the correct organ version appears on the new set.The new „Congratulations“ is slightly less murky, as is „Little Red Rooster.“ „Off
the Hook“ sounds mostly similar, but the intro on the new version is far less hissy,
possibly due to EQ. „Heart of Stone“ was a murky stereo-intro-mono-body monstrosity
on the old set; the new set provides a crisp mono version, but one that sounds like a
reduction of the new stereo mix (as I actually remember the mono „Heart of Stone “
*being* a muddy, indistinct mess). „What a Shame“ is nearly identical, but it sounds like
some processing has been applied to eliminate the static in the intro. „The Last Time“ is
largely identical. „Play with Fire“ has some MARKED differences; the old ABKCO set
used the collapsed-stereo version that Hot Rocks used, while the new one uses what
sounds like the correct mono tape, as it’s hissier and runs far slowed than does the old
version. „(I Can’t Get No) Satisfaction“ was identical on the old set to the one on Hot
Rocks; the new version sounds very similar, but runs a hair faster. „The Under Assistant
West Coast Promotion Man“ has the usual aggressive EQ on the new set, but the MAJOR
difference is, of course, that the old set used the full, uncensored version, whereas the
new set uses the standard one. Disappointing.The new „The Spider and the Fly“ has slightly more top end. „Get Off of My
Cloud“ takes the aggressive EQ to some ridiculous heights, though; the bottom end is
VERY artificial, and frankly I prefer the slightly murkier version on the old set. „I’m
Free“ is slightly more dynamic. „The Singer, Not the Song“ has the same EQ boost as it
does on December’s Children, and also runs faster than on the old set. Lastly, ABKCO
unearthed a better tape of „As Tears Go By“ in time for their old set, as it didn’t use the
chewed-up version that was on Hot Rocks. The new set uses a similar tape, but runs
slower than the previous version, and indeed most versions I’ve heard.Disc 2 is improved to a fantastic degree. „Gotta Get Away“ has much better high-
end on the new set, and runs slightly faster. „19th Nervous Breakdown“ is the odd re-
working from Hot Rocks, instead of the actual single mix (again, why bother?). „Sad
Day“ has more top end, but that might just be due to EQ, as does „Paint It, Black“ (is this
longer mono version really the single, though?). „Stupid Girl“ is the actual single mix this
time around. „Long Long While“ has sounded lousy in most previous incarnations
(including the London versions), but sounds swell on the new set, with more natural top-
end and a generally-upgraded sound. „Mother’s Little Helper“ has more top end. „Lady
Jane“ seems to be the actual mono mix on the new set, as does „Have You Seen Your
Mother, Baby, Standing in the Shadow,“ which was mock-stereo on the old set. „Who’s
Driving Your Plane?“ sounds a bit better on the new set, but that could be due to better
EQ. „Let’s Spend the Night Together“ actually has top end on the new set.„Ruby Tuesday“ presents the same problem as its stereo incarnation: that is, the
version on the new set seems to be missing vocals in the chorus as compared with the old
version. That said, for all I know this version is the „correct“ one, and the one on the old
set a knockdown. Curious. „We Love You“ is slightly brighter, but is also definitely more
compressed. Ditto with „Dandelion.,“ „She’s a Rainbow“ and „2,000 Light Years from
Home“ are brighter. „In Another Land“ and „The Lantern“ actually seem to use the real
single mixes this time around, although neither sounds wonderful. „Jumpin‘ Jack Flash“
and „Child of the Moon“ *do*, however, and it’s nice to finally have those mixes on disc.Disc 3 starts off with a nice surprise. For the first time in thirty years, the original,
amazingly hard-to-find mono single mix of „Street Fighting Man“ is easily available! The
fidelity is surprisingly bad, and the mixing rather sloppy-it isn’t hard to see why they
replaced this version with a downmixed version of the album mix-but it presents a
fascinating alternate to a familiar track. „No Expectations“ may or may not be a mono
reduction of the new „correct“ version, as it’s very hard to tell. „Honky Tonk Woman“
was in mono before, but is now in stereo; however, the mono mix was apparently just a
knockdown of the stereo, so this isn’t a big deal. On the flip side, „You Can’t Always Get
What You Want“ was the edited version in stereo before, while now it is in mono (still
edited).
Siehe auch:
http://www.stevehoffman.tv/forums/showthread.php?t=145874
http://www.stevehoffman.tv/forums/showthread.php?t=192173
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Ohne Musik ist alles Leben ein Irrtum.