Devin Townsend "PowerNerd" (2CD+BD-A w/Atmos) 10/25/2024

[Thonolan]

There were songs that used surround more to a dramatic effect, creating ambience with it and impactful moments kicking instruments into full gear in the surround channels. The build near the end of 'Goodbye' a good example.

That was a surprising moment for me because it happened after a number of songs in which it looked as if he had almost forgotten he was supposed to be mixing in Atmos. It's easily seen on the picture @LTW posted, how suddenly the other channels become a lot more active towards the end of the song. It's one of the "absolutely huge and immersive" instances I was referring to in my long post.

Disappointed to read about the lack of smooth transition between tracks on the blu-ray. It flows nicely on Apple Music.

 

[stoopid]

That was a surprising moment for me because it happened after a number of songs in which it looked as if he had almost forgotten he was supposed to be mixing in Atmos. It's easily seen on the picture @LTW posted, how suddenly the other channels become a lot more active towards the end of the song. It's one of the "absolutely huge and immersive" instances I was referring to in my long post.

This seemed to be an active strategy, never were the surround completely silent and often to aid in the impact of a section of music they would come more to life to help raise that energy level in the song. On a few tracks, like Good bye, he even seemed to dip the entire mix level down in order to increase the impact of these different ('louder') moments. That's not done often enough in surround mixing, using that nice low noise floor to the mixer's advantage. I think we're all too accustomed to having things being loud (overly present) all the time we're missing out on the very thing many of us cry about when things aren't in our face -- more dynamics. Then when an artist mixes things with more subtilty and dynamics the general feedback is to complain it's not busy/loud enough in the surrounds. lol

 

[Thonolan]

This seemed to be an active strategy, never were the surround completely silent and often to aid in the impact of a section of music they would come more to life to help raise that energy level in the song. On a few tracks, like Good bye, he even seemed to dip the entire mix level down in order to increase the impact of these different ('louder') moments. That's not done often enough in surround mixing, using that nice low noise floor to the mixer's advantage. I think we're all too accustomed to having things being loud (overly present) all the time we're missing out on the very thing many of us cry about when things aren't in our face -- more dynamics. Then when an artist mixes things with more subtilty and dynamics the general feedback is to complain it's not busy/loud enough in the surrounds. lol

He did that indeed. My issue with that isn't the low volume of those sections (that's good!) but that they seem less immersive than the loud passages, as if the sound field "shrank" too much there. You can sound soft and still immersive. However, on a second listen I've found those moments more satisfying.

As for the mix in general, I said in my initial review that I found it good and satisfying overall despite its flaws. That hasn't changed (tracks 6 to 9 are clearly less interesting than the others surroundwise, not sure what happened there, because the music is equally suited for it). What has changed is my impression about the music. I like it a lot more now. Maybe it was a question of adjusting expectations - I was probably expecting something more ambitions and progressive in the vein of Empath, but it's more similar to Lightwork, as some of you have mentioned, albeit a bit louder/heavier. And it's a good one IMO.