Close TO The Edge in Atmos

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After 145 votes, the average score on the poll is 9.20, with more than half of the voters (74) having gone for 10. So it's obviously a well received mix.

Personally, I don't think it's among SW's most impressive mixes. There are some sections in the album (e.g. the organ part in the title track, the mellotron parts in "And You And I") that don't sound nearly as immersive as I was hoping, and actually have a better impact in the original stereo mix IMO. But it's a very good sounding mix, very dynamic, it's discrete but holds together well at the same time, and the mixing choices are consistent and sensible throughout the album, very much in line with what's usually appreciated over here. I think the pros clearly overweight the cons and to me it's obvious that it's technically a very good mix overall. So maybe slightly flawed, but lame? I'd reserve that word for other mixes. YMMV.
 
So maybe slightly flawed, but lame? I'd reserve that word for other mixes. YMMV.
Steve Wilson's terribly lame ELP s/t and Tarkus mixes were really bad. He cut the balls off Keith's organ. There is a better Tarkus upmix floating around. I had it but it got a scratch on it and I tried to polish it out but was too aggressive and broke the disc!
 
Steve Wilson's terribly lame ELP s/t and Tarkus mixes were really bad. He cut the balls off Keith's organ. There is a better Tarkus upmix floating around. I had it but it got a scratch on it and I tried to polish it out but was too aggressive and broke the disc!
Wilson has all but disowned those mixes. His experience on that job soured him on remixing any albums he didn't already love.
 
Just goes to show you, that no matter how good something is, there is someone out there to tell you that it sucks
Funny you say that, I see it a lot in online sports discussion. "So and so sucks" (as a player, manager, GM). Then it requires defensive contrary opinions to be posted and often arguments ensue. All this triggered by a minority voice that was often at best an incorrect outlier ('hot take'). The mere reason for discussion gives validity to the outlier and makes the reasoned majority voice appear pedantic, when it should be the other way around.
 
Funny you say that, I see it a lot in online sports discussion. "So and so sucks" (as a player, manager, GM). Then it requires defensive contrary opinions to be posted and often arguments ensue. All this triggered by a minority voice that was often at best an incorrect outlier ('hot take'). The mere reason for discussion gives validity to the outlier and makes the reasoned majority voice appear pedantic, when it should be the other way around.
Wait, I think I just described all of social media. Never mind.
 
Wilson has all but disowned those mixes. His experience on that job soured him on remixing any albums he didn't already love.
That's really interesting. I didn't know that about the ELP mixes. I was going through a rough time in a job I was in when they came out, and I genuinely thought that had coloured my attitude towards them.
 
That's really interesting. I didn't know that about the ELP mixes. I was going through a rough time in a job I was in when they came out, and I genuinely thought that had coloured my attitude towards them.
From the man himself:

“I’ve chosen not to do any more of their records,” Wilson tells Prasad, “because I can’t honestly say I love them. I didn’t feel as connected to them as the King Crimson or Jethro Tull albums.”

Wilson says the remaining ELP reissues will be handled by Jakko Jakszyk, a Robert Fripp collaborator.

“Going forward,” Wilson adds, “I’m only going to do things I genuinely really, really love. The main thing about doing them for me is what I learn from the process. I really have learned a lot from working on these records. I absolutely love the King Crimson, Jethro Tull and XTC records I’m doing now.”
 
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