I bought all three Immersion sets when they were released. I was a bit skeptical about the cost vs. the contents. Having had, all these years, the original vinyl and the various original CD releases (never bought any of the remasters along the way), I didn't know if the new mixes were going to offer enough to justify the expenditure. But I'm very glad I paid the money...
Firstly, I've always liked WYWH more than DSOTM. I love them both. But WYWH just speaks to me more than the other. So, I was ready to hear the new stereo remaster when the box arrived. After hearing it, and loving it, I decided to ramp up my plans on finishing my surround system. I was always fairly indifferent to listening to 5.1 surround mixes of albums. The few I'd heard before, I found it to be too distracting after being an audiophile geek for the entirety of my life. But the Pink Floyd Immersion sets set me on the path. I just had to hear them in 5.1...
So, skip ahead a couple months and I am sitting in my den listening to WYWH and DSOTM (as well as my neighbors on all sides...whether they want to or not) and I'm thinking to myself, "Sweet Mother of Audiogasm". These mixes are really breathtaking. There are some very minor complaints, but nothing to warrant rating them any lower than a 10 on the Vote. As stated numerous times throughout this thread, Welcome to the Machine just stands up and flexes its muscles; contrary to how it sounds on older stereo mixes. The Shine On...'s are stunning bookends in surround. Gilmour's trademark, soulful guitarwork stands out in the mix perfectly. As I mentioned before, I found some of the first 5.1 mixes that I'd heard to be distracting. This is not the case with these Guthrie mixes. All of the important elements of the albums you love are intact and sounding better than ever.
Technically speaking, there's not much to complain about. The mix is extremely pleasant. Lows are smooth, highs are perfect, noise is nearly non-existent. The menues are minimalistic and intuitive. Mixes like these should be used in music schools to instruct.
Speaking from my audiophile side, it's important that the albums remain true to their original sound with regards to the mix. Many times, 5.1 mixes will fundamentally change something you've loved all your life and you have to either get used to the new thing, or not listen to it. These two Pink Floyd mixes retain their original body and just, quite simply, sound better.
Here's hoping they release 5.1 mixes for Animals, Meddle, The Final Cut, Momentary Lapse..., and The Division Bell. But before all of that, we seriously need a surround mix of The Wall that is as good as these have been.
Firstly, I've always liked WYWH more than DSOTM. I love them both. But WYWH just speaks to me more than the other. So, I was ready to hear the new stereo remaster when the box arrived. After hearing it, and loving it, I decided to ramp up my plans on finishing my surround system. I was always fairly indifferent to listening to 5.1 surround mixes of albums. The few I'd heard before, I found it to be too distracting after being an audiophile geek for the entirety of my life. But the Pink Floyd Immersion sets set me on the path. I just had to hear them in 5.1...
So, skip ahead a couple months and I am sitting in my den listening to WYWH and DSOTM (as well as my neighbors on all sides...whether they want to or not) and I'm thinking to myself, "Sweet Mother of Audiogasm". These mixes are really breathtaking. There are some very minor complaints, but nothing to warrant rating them any lower than a 10 on the Vote. As stated numerous times throughout this thread, Welcome to the Machine just stands up and flexes its muscles; contrary to how it sounds on older stereo mixes. The Shine On...'s are stunning bookends in surround. Gilmour's trademark, soulful guitarwork stands out in the mix perfectly. As I mentioned before, I found some of the first 5.1 mixes that I'd heard to be distracting. This is not the case with these Guthrie mixes. All of the important elements of the albums you love are intact and sounding better than ever.
Technically speaking, there's not much to complain about. The mix is extremely pleasant. Lows are smooth, highs are perfect, noise is nearly non-existent. The menues are minimalistic and intuitive. Mixes like these should be used in music schools to instruct.
Speaking from my audiophile side, it's important that the albums remain true to their original sound with regards to the mix. Many times, 5.1 mixes will fundamentally change something you've loved all your life and you have to either get used to the new thing, or not listen to it. These two Pink Floyd mixes retain their original body and just, quite simply, sound better.
Here's hoping they release 5.1 mixes for Animals, Meddle, The Final Cut, Momentary Lapse..., and The Division Bell. But before all of that, we seriously need a surround mix of The Wall that is as good as these have been.
I bought it for the 5.1 mix as I already have the SQ LP and a conversion. This ranks "high" in my idea of a "stoner" album. This is the kind of album I listen to alter my mood. I like listening to "stoner" albums because they are capable of making me forget where I am and make me concentrate on being "in the middle" of the music. I found myself having to come down off my cloud for about 10 minutes after it finished. While listening to the first track, I was going to rate it for a 9, losing a point only for not being DSOTM. However, half way through the second track, I was coerced into upgrading it to a 10. While I wouldn't particularly call myself a "fan" of PF, nor would I pay an individual track like a single, I do see myself playing this album more often than the LP due to the increased fidelity and better placement of the sounds. There were also shock moments to remind me to pay attention and not fall asleep from being musically stoned. It is albums like this that proved that I didn't need chemicals or herbals to alter my state of mind, but whether it is a cheaper habit to buy music is to be debated.
