Listening to this surround UPMIX, up-remix, or remix

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Strange that Fantasy gave Children of Lima a quad mix and not this one. Seems like it would have been a natural--a quasi-"crossover" album with Phil Ramone at the helm!
The real interesting thing on this IMO, is that one of the songs off this Bellaphone 1973 SQ The Fantastic World Of Quadro LP, has a song off this Herman album. I've already tried a decode thru the SMv2 in SQ & QS but just didn't seem to decode right, so I guess it's just a really good wide recording.
 
Fat man in the bathtub be smilin' today! Juanita, check my oil please... 😄

*found some nice Hi-Res files (96x24 wav) on Qobuz from the 2022 Rhino Deluxe Edition (8 CD's worth)

fAT MAN IN THE BATHTUB.jpg



 
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No idea, was just wondering what the rationale is for saying "US version, of course!" when the original US LP had two tracks less than the UK one.
Different tracks/listing and not everyone grew up listening to the UK version.
 
Exactly!!!! It’s all about sounding the way you listened to it when you grew up. Love that the album has so much acoustic guitar, and instead of electric Drive My Car to start (which by the way I love!), it starts out with I’ve just seen a face, nice transition ito Norwegian wood. Keeping that quieter theme, it has Its Only Love next to Girl.
 
Different tracks/listing and not everyone grew up listening to the UK version.
Exactly!!!! It’s all about sounding the way you listened to it when you grew up. Love that the album has so much acoustic guitar, and instead of electric Drive My Car to start (which by the way I love!), it starts out with I’ve just seen a face, nice transition ito Norwegian wood. Keeping that quieter theme, it has Its Only Love next to Girl.
Some may argue that the US version of Rubber Soul is the more cohesive of the two versions because of its consistent acoustical nature, as nikomen has noted, especially on side two. @nikomen it had to be an arduous task to upmix this album given the dual mono nature of the stereo mix.

Aside: Then there is Yesterday...and Today, a US compilation of singles plus songs from the UK versions of Help, Rubber Soul, Revolver. As depicted on the album cover, it is a true butcher's job. However it is one prepared by the finest butcher using the finest cuts of the finest Kobe beef. So it holds together on its own. I played the grooves out of several copies.
 
Curtis Mayfield-
*Going through some of my older up-mixes last night and today, and ran across this one. I just love this tune by Curtis, lots of instrumentation (horns, guitar, organ) & vocals to work with also. Now that I have a decent de-mix tool (De-Mix Pro) I'm thinking I can make this even more special than it already is. If you've never heard this song check it out (below).

CM SO IN LOVE.jpg


 
Both Holland123 and Sean did a great job on those upmixes....haven't seen Holland123 around since I have been back to the forum....did talk to Sean...
Holland, like DKA, were so damned prolific, having upmixed tons of stereo. Both were members of our SBU group, and many other members contributed a lot as well. Much has been lost over the years, but a substantial amount remains from these two, and some from the rest of us, and a fair bit from EoH as well. I recently came into a very large amount of Holland's mixes, thanks to a friend.
The bulk of these upmixes were done many years ago, but some still hold up quite well.
These were done in the days before AI stem separation became available.

There's a long history here, of upmixing, that goes back to the early 2000's.

There were people that devised their own methods, such as GART, TOUP, etc.
Andreas sort of started the ball rolling on using Plogue Bidule, and he and Aart collaborated on methods with Andreas doing the research and devising the layouts. Later after we formed the SBU group, dts350z (Zeerround) did his own research, as well as combining multiple methods into SPEC. EoH (Aart ) eventually went his own way and concentrated more on methods of upmixing using some Ambisonic in his work.

All deserve credit. Glad I was along for the ride.
 
Holland, like DKA, were so damned prolific, having upmixed tons of stereo. Both were members of our SBU group, and many other members contributed a lot as well. Much has been lost over the years, but a substantial amount remains from these two, and some from the rest of us, and a fair bit from EoH as well. I recently came into a very large amount of Holland's mixes, thanks to a friend.
The bulk of these upmixes were done many years ago, but some still hold up quite well.
These were done in the days before AI stem separation became available.

There's a long history here, of upmixing, that goes back to the early 2000's.

There were people that devised their own methods, such as GART, TOUP, etc.
Andreas sort of started the ball rolling on using Plogue Bidule, and he and Aart collaborated on methods with Andreas doing the research and devising the layouts. Later after we formed the SBU group, dts350z (Zeerround) did his own research, as well as combining multiple methods into SPEC. EoH (Aart ) eventually went his own way and concentrated more on methods of upmixing using some Ambisonic in his work.

All deserve credit. Glad I was along for the ride.
Somebody should write a history...
 
These were done in the days before AI stem separation became available.
Amen to that. I was just doing separations of the lead and backing vocals of several Gin Blossom songs using DeMix Pro 4.2. These separations came out very clean with little phase issues and with remarkably little effort on my part. And things will get better.
 
Somebody should write a history...
There's surely a lot I don't know. I started upmixing the same year I joined QQ, thanks to Andreas and Aart.
As far as methods, pre-AI stem separation, I would say the bulk were done in some form or fashion using Plogue Bidule and VST's in the early days, for that I credit Andreas and Aart. In those days the Extra Boy VST and a VST to swap phases were prominent to best of my memory, I don't have now any of those old lay outs to refer to.
Ambisonics played a bigger role later.

Later, as I said, @zeerround really became quite proficient with building complex layouts in Plogue.

Although I did not use any Ambisonic VST's for the bulk of my own upmixes, sometimes it was used to smooth out some of the artifacts and harshness introduced by the VST's.
Aart especially became more enamored of using Ambisonics for this reason I think.

Of course other methods were used; I used to use some features of Audition, About I think v7 of Nero was introduced a function to reduce or isolate vocals, Center Cut came along, all sorts of VST's as well.

When I started with Aart, we used to always upload to usenet. Later on in SBU we concentrated more on the torrent sites such as Demonoid, Pirate Bay etc to reach out to the public at large.
 
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Eight power-pop songs from these two albums include: Lost Horizons, Hey Jealousy, Mrs. Rita, Until I Fall Away, Found Out About You, Allison Road, Follow You Down and Till I Hear It From You.

All mixes were made using DeMix Pro 4.2. The key factors:
- Given the nature of the music, these 5.1 mixes are on the immersive side.
- DeMix Pro did a stellar job separating lead and backing vocals; so the backing vocals were placed in the rears and blend nicely with the lead vocals up front.
- Rear backing vocals were stereotized using a Duophonic method, which is extremely effective on rear channel elements (but not so much on front channel elements.)
- The extremely 'hot' cymbals inherent in the tracks of New Miserable Experience were addressed by trying various EQ curves until one yielded a compromise that tamed the cymbals without sucking the air out of them.
 
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