Steven Wilson Pink Floyd - Live at Pompeii - Steven Wilson mix - May 2nd 2025

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You are confused! ;)
The Early Years was a bastardization of the original film. This new release is presented in the original running order of the film.
Yep. You're right. ;-) Yesterday I've listened to the Early Years 5.1 Mix. It's really bad at all, but I thought this was the correct running order. Pre-orded the new BD disc.
 
Presuming they're all fed identical audio for encoding, that DTS-HD MA, Dolby TrueHD and LPCM are digitally identical upon decoding is a statement of fact, unlike 'we prefer DTS' which is an opinion. There's no need to be condescending to people who take the time to reply to yoru queries, even if it isn't the response you were looking for.
Can you be more specific about what you mean by digitally identical? I can extract all versions and compare them with a null test to show the digital difference if that helps.
 
Can you be more specific about what you mean by digitally identical? I can extract all versions and compare them with a null test to show the digital difference if that helps.
If they're different then a different LPCM master was used to encode them. DTS HD MA and Dolby True HD are lossless, you get the same LPCM out on decode as was put in on encode.
 
If they're different then a different LPCM master was used to encode them. DTS HD MA and Dolby True HD are lossless, you get the same LPCM out on decode as was put in on encode.
This is probably a discussion best left for another thread, outside of Pink Floyd.

You believe that a TrueHD Atmos mix rendered to 5.1 will be identical to a DTS HD MA mix rendered to 5.1?

We are talking apples and oranges here. Completely different processes. We aren’t talking about zipping and unzipping a file to get a file without losses.
 
You believe that a TrueHD Atmos mix rendered to 5.1 will be identical to a DTS HD MA mix rendered to 5.1?
I never said anything about Atmos and I am aware that extracting the height channels from the 7.1 True HD is not and cannot be lossless. But if I had meant Atmos or DTS X I would have said so.
We aren’t talking about zipping and unzipping a file to get a file without losses.
That is exactly what I'm talking about. DTS HD MA and Dolby True HD are precisely zip style compression systems.

EDIT: This all started with the question "Is the 5.1 Dolby or DTS". Note specifically the 5.1 mix, clearly nothing to do with the separate Atmos mix:

https://www.quadraphonicquad.com/fo...ven-wilson-mix-may-2nd-2025.37201/post-838478
 
I never said anything about Atmos and I am aware that extracting the height channels from the 7.1 True HD is not and cannot be lossless. But if I had meant Atmos or DTS X I would have said so.

That is exactly what I'm talking about. DTS HD MA and Dolby True HD are precisely zip style compression systems.

EDIT: This all started with the question "Is the 5.1 Dolby or DTS". Note specifically the 5.1 mix, clearly nothing to do with the separate Atmos mix:

https://www.quadraphonicquad.com/fo...ven-wilson-mix-may-2nd-2025.37201/post-838478
Ah. Tough to follow things. We can make this easy. I’ll get 5.1 versions of the same album in TrueHD and DTS and null test them. No sense in using only partial information.
 
I’ll get 5.1 versions of the same album in TrueHD and DTS and null test them. No sense in using only partial information.
Do you have an album that is in both DTS HD MA and True HD and you know the same mix was used as the source for both? It seems strange to me that any album would have both on. You sometimes get LPCM and one of the lossless compressed codecs.

Update: make sure dialogue normalisation is ignored when decoding the True HD. And ideally this would be done with a 5.1 mix, because with 7.1 True HD holds all channels separately whereas with DTS HD MA the rears have to be removed from the surrounds (because DTS 5.1 core has to hold everything so rears are an extension even with DTS HD MA).
 
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Been playing the air-bleeding Echoes Part 1 & 2 combined version in the car with the treble cranked down, wish there was a version which had a longer Part 1, it seems criminal to fade out when the band is funking out with some of the most stellar guitar, organ stabs and pulsing rhythm ever in the history of the band. I could listen to this all day.
 
Producer ?? @ssully I would think he would be the co-producer . Responsible for new stereo mixes and 5.1 and Atmos. So what's in the final sound package is important to him as well as the artist.

Well we'll see, Ryan @rtbluray . There really isn't much there for quad ?
Echoes , maybe ?
I'm thinking he may have some democratic say so.

Now Steven Wilson does have some history with quad . Not that he mixed a lot of 'Tull' for quad . Ian Anderson would be in the producers chair , along side him would be Wilson .

He did mix Gentle Giant's two re-issues (Handmade &Interview), and lo and behold ,..they included the quads once again .

He's also mixed some quad for 'Tull' with 'This Was' , (re it being only available 4 track) , a large task to make that 5.1 over 4.0.

Also 'King Crimson' -Starless (live-Pittsburgh, Mainz, etc)..... .along with 2 other quad engineers.

So there is some attachment for an inclusion of quad , should there be any , along side his stereo , 5.1 , or Atmos mixes. Plus we kinda get the impression he's definitely not anti-quad .
This is a lot of fantasizing on your part.

If Wilson is a producer, he'd get a producer credit in the released product. It's worth actual $$$ to get that credit. The people who actually got that credit and that money on those releases were the producers.

The Tull release contents were informed by devoted fans who were part of the process, some from this very forum.
 
On Starless ,..... Steven Wilson mixed a quad set of Amsterdam,
( David Singleton mixed the Mainz quad set , and George Ckaintz quad mix of Pittsburgh ).
Much of the Amsterdam Concertgebouw set had already been mixed and broadcast in quad in the 1970s on King Biscuit.

I suspect the elements available to Wilson were already stemmed for 'quad;, hence the remix in quad.
Otherwise why not simply mix to 5.0 or 5.1?
 
It will be either DTS HD MA 5.1, Dolby True HD 5.1, or LPCM 5.1. All are lossless so no difference.

Now if we're actually talking DTS 5.1 as used on DVD-Video or Laserdisc then yes I agree it is far better than Dolby Digital 5.1 (AC-3), but that comparison is ancient history.

and still reflecting a great non-understanding of how DTS and DD compare.
 
Quite an interesting Atmos mix. It sounds like Dave's voice is slightly off to the right and Rick's to the left, but both are also heard in the center channel. The guitar and organ are almost completely isolated in the side speakers. The drums (sounds like a single mono track?) are spread across all three front speakers.
First listening from Tidal.

It’s curious. Dave and Rick voices are crossed backwards. In the Fronts, Dave is on the left and Rick is on the right. But on side and rear surrounds, they are backwards, Dave on the right and Rick on the left.

Since you hear more the side surround than the front, it appears that Dave is on the right, but really both voices come from mixed directions in a strange manner.

Also, yes, the Heights only output very low global echo/reverb in the Top x.x.2 bed channels. I.e. in a x.x.4 system they sound the four top speakers, but in a x.x.6 system only sound the Top Middles.

On the other hand, there is content for the Wides, so the mix is pretty good surrounding you at floor level as if you were there, between them at Pompeii amphitheatre, without sound coming from the open sky above.

I like the clear sound of drum cymbals more than the other quad and 5.1 copies that I have.
 
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