RUSH Moving Pictures 40th Anniversary edition (with Richard Chycki Dolby Atmos mix)

[fetchmybeer]

I think both got hit with the ugly stick in mastering more than mixing.

Yep. Can't speak to Vapour Trails, but Clockwork was mastered loud-- brickwalled a bit-- as were most releases for about 20 years. I don't have a problem with the mix. It's a heavy record with Alex's usual swirling effect sounds. There can't NOT be moments of mud with that formula.

 

[jimfisheye]

Vapor Trails and Clockwork Angels would like to have a word with you. Ironically the only good sounding Rush album after the reunion, Snakes & Arrows, was mixed by Richard Chycki [I don't know anything about the 5.1, though], and his single mixes of "Caravan" and "BU2B" also sounded far better than the later album versions.

If Steven thinks it's as good as any of their work, that's an indication that it won't suck...

I should have clarified I was talking about the classic period albums Fly By Night thru Moving Pictures! There is still a song here and there on later albums that piques my interest but I absolutely agree that the available digital copies of the later catalog are brutally stepped on and difficult listening. I grabbed Signals and Grace Under Pressure back in the day before I gave up on them. (On vinyl before CDs were invented.) I remember those not sounding very good. Or at least they didn't sound like Rush albums to me. Maybe I just didn't like them. Power Windows might have been next and I was just done.

I'd pay good money for a collection of Steve Wilson Rush remixes too!

 

[leahypc]

Yep. Can't speak to Vapour Trails, but Clockwork was mastered loud-- brickwalled a bit-- as were most releases for about 20 years. I don't have a problem with the mix. It's a heavy record with Alex's usual swirling effect sounds. There can't NOT be moments of mud with that formula.

More like a mud slide...

 

[salsdali]

so why would UMe pay for two different mixes?

are you saying the apple version is an upmix payed for by UMe and the physical mix will be a real atmos mix from Chycki but released within months of each other. Why would UMe do that? I'm genuinely curious?

can someone offer an explanation for this as I am genuinely confused??

 

[SyrinxTemple]

Yes I have that set as well and there is at least one song on the 3disc set? So I wonder as well if someone is going to pull a rabbit from a hat

How about a box similar to what Deep Purple did with Live in Japan? Include the entire Massey Hall run in a box.

 

[jamesc]

The credits for the Atmos version of Limelight on Tidal show:

Immersive Mix Engineer: Richard Chycki
Mix Engineer: Greg Penny

That version has a date of November 08, 2019.

Tom Sawyer has a date of December 13, 2019 but doesn't have mix credits. I assume they're the same.

The rest of the tracks haven't shown up in Atmos on Tidal so far but they're up on Apple so maybe someone with Apple Music can check?

Since these are from 2019, I suppose it's possible that Greg Penny was handed Chycki's original 5.1 mix and asked to create an Atmos mix from it? I like Greg's Atmos mixes that I've heard and they're generally a lot more interesting than these two tracks. He did the Atmos mix of Rocket Man for instance and on that one he's listed as the Immersive Mix Engineer. It's a very cool mix if you haven't heard it.

 

[musicmemorabiliashoppellc]

As much as I love this band, I won't pay 300$ for some new packaging of their classic album with a disappointing 5.1 mixe and live material that we will hear in streaming somewhere. I am sure some fans will be craving for the new photos in the hardcover book.

The ONLY way I’d ever pay $300 for a RUSH LP BOX SET…..is if they’d remix ALL THE WORLDS A STAGE remixed in ATMOS by none other then Steven Wilson ESQUIRE, and include replicas of original program given out at the show plus lots of other SONIC goodies

 

[musicmemorabiliashoppellc]

How about a box similar to what Deep Purple did with Live in Japan? Include the entire Massey Hall run in a box.

Entire run?! There were only 2 shows

But even with that being said Live In Japan isn’t multi-channel

 

[Bill B]

The ONLY way I’d ever pay $300 for a RUSH LP BOX SET…..is if they’d remix ALL THE WORLDS A STAGE remixed in ATMOS by none other then Steven Wilson ESQUIRE, and include replicas of original program given out at the show plus lots of other SONIC goodies

I've never been a big fan of "live" album surround mixes. Technically the surround channels should represent the people around you so that you feel you are in an arena. To me, the people around me, making noise (other than applause) and making me stand for the entire concert, are the worst part of seeing a band live. I'd rather not be reminded of them when I listen to the live album.

 

[musicmemorabiliashoppellc]

I've never been a big fan of "live" album surround mixes. Technically the surround channels should represent the people around you so that you feel you are in an arena. To me, the people around me, making noise (other than applause) and making me stand for the entire concert, are the worst part of seeing a band live. I'd rather not be reminded of them when I listen to the live album.

To me that’s the difference between a studio recording and LIVE where you get the feeling that you are part of the experience, that’s the whole point of a live album

 

[musicmemorabiliashoppellc]

A good example is a bootleg SOUNDBOARD recording and an AUDIENCE recording…where most SOUNDBOARDS miss the ambiance and an excellent AUDIENCE recording captures BOTH

 

[SyrinxTemple]

Entire run?! There were only 2 shows

But even with that being said Live In Japan isn’t multi-channel

I thought AtWaS was from 3 or 4 shows? June 11, 12, 13, 1976. You're right, about Live in Japan. Perhaps something better like The Allman Brothers Fillmore box.

 

[musicmemorabiliashoppellc]

I thought AtWaS was from 3 or 4 shows? June 11, 12, 13, 1976. You're right, about Live in Japan. Perhaps something better like The Allman Brothers Fillmore box.

Damn ….. I missed one…definitely saw the one on the 13th cause we celebrated my BD a day early that year as my friends took me as a surprise….then I guess I saw the one on the 11th…so I stand corrected

 

[srbjab]

After reading through this thread, all I can say is that I am soooo glad I'm not a huge Rush fan. Moving Pictures is the only Rush album I can almost listen to in it's entirety without skipping most of the tracks, but since I already own the blu-ray version of it and can always listen to the atmos version on Apple Music, I'm completely set. A hard (and easy) pass for me. If Rush ever decides to get back to selling more reasonably priced/packaged surround releases of their back catalog I might consider purchasing a few titles that contain some tracks I like, but as long as they are buried in these bloated box sets with unwanted vinyl, no thank you.

 

[edisonbaggins]

can someone offer an explanation for this as I am genuinely confused??

So, we have Chycki's 1st MP remixes from the deluxe set (DVD-A or BD-A).
From the sounds of it, Limelight from that session was likely upmixed from 5.1 to "Atmos" and that has been streaming a while.
TS Atmos, also streaming a while, sounds like a new animal, in a bad way. Shitty trash can lid snare sound.
The other 5 "Atmos" tracks, now streaming on Apple Music, just sound like someone upmixed the LP or maybe Chycki's 5.1 mix again. Different mastering though. WAY quieter than TS or Limelight.
So, again, if the currently streaming content is being used for the forthcoming BD, it's gonna be completely fucked.
There is precedent for reremixes and even rereremixes. It happens.
We shall see...

 

[Bill B]

To me that’s the difference between a studio recording and LIVE where you get the feeling that you are part of the experience, that’s the whole point of a live album

To me the point of a live album is to capture some of the fan enthusiasm in between songs but mainly to hear how they pulled it off live, mistakes, ad-libs, improvisation, etc., where it deviates from the studio recording.

 

[musicmemorabiliashoppellc]

To me the point of a live album is to capture some of the fan enthusiasm in between songs but mainly to hear how they pulled it off live, mistakes, ad-libs, improvisation, etc., where it deviates from the studio recording.

Of course that as well….maybe you explained it better?

 

[JulesRules]

Yep. Can't speak to Vapour Trails, but Clockwork was mastered loud-- brickwalled a bit-- as were most releases for about 20 years. I don't have a problem with the mix. It's a heavy record with Alex's usual swirling effect sounds. There can't NOT be moments of mud with that formula.

The mastering didn't help. But Snakes & Arrows was also brickwalled (it's actually louder than Clockwork Angels) and still sounds better. It doesn't have the indistinctness and bass cloud of Clockwork Angels. The difference between the two is the mixer.

I should have clarified I was talking about the classic period albums Fly By Night thru Moving Pictures! There is still a song here and there on later albums that piques my interest but I absolutely agree that the available digital copies of the later catalog are brutally stepped on and difficult listening. I grabbed Signals and Grace Under Pressure back in the day before I gave up on them. (On vinyl before CDs were invented.) I remember those not sounding very good. Or at least they didn't sound like Rush albums to me. Maybe I just didn't like them. Power Windows might have been next and I was just done.

I'd pay good money for a collection of Steve Wilson Rush remixes too!

Terry Brown's production was a part of the Rush sound, their fingerprint... I think Signals is the last one that has it. However, I enjoy later albums - especially Presto and Counterparts - quite a lot.

I guess my point was that however great the vintage mixes are, the new remasters and remixes have to be seen within the context of the newer material. Thankfully the Magee remasters are not affected by this, but they are already the third round of remasters!

 

[EricKalet]

The credits for the Atmos version of Limelight on Tidal show:

Immersive Mix Engineer: Richard Chycki
Mix Engineer: Greg Penny

That version has a date of November 08, 2019.

Tom Sawyer has a date of December 13, 2019 but doesn't have mix credits. I assume they're the same.

The rest of the tracks haven't shown up in Atmos on Tidal so far but they're up on Apple so maybe someone with Apple Music can check?

Since these are from 2019, I suppose it's possible that Greg Penny was handed Chycki's original 5.1 mix and asked to create an Atmos mix from it? I like Greg's Atmos mixes that I've heard and they're generally a lot more interesting than these two tracks. He did the Atmos mix of Rocket Man for instance and on that one he's listed as the Immersive Mix Engineer. It's a very cool mix if you haven't heard it.

Sadly, Apple doesn't provide credits or details about albums/tracks.

 

[nickbee8]

What a shame. I’d pay good money for a box set of SW remixes of the entire Rush catalog, live albums included. They could even split them up like they did with the Sector boxes. My question is why didn’t they give Steven (or someone close to his level of mixing genius) a chance at this record? They did that with AFtK, Chycki did the first mix to less than stellar results and then we got a SW remix, albeit locked in a box set (still haven’t heard that mix ). Just further proof that these major labels, Universal, Warners etc. aren’t listening to what the fans are saying. As a Canadian I think this whole thing is just an insult to the legacy of this monumental album.

Yes, I totally agree. Alot of the big bands seem to just let the production company take over (Pink Floyd are the worst example, but also ELP, and to some extent, Genesis...) without paying much attention to what their fans really want. The SW AFTK mix really is absolutely excellent; I was lucky enough to pick it up at a very reasonable price (80 euros if I remember) on discogs. What really annoyed me was getting a bunch of vinyls I simply didn't want; not very ecological. Meanwhile, other bands are trailblazing an excellent and much more financially succesful example: Marillion, Jethro Tull, King Crimson, The Pineapple Thief, Steven Wilson of course, Van de Graaf generator etc... where, with all those groups, you really do get good value for money products that please us fans. So, with the latter, it's a win/win situation all round unlike those pathetic Pink Floyd immersion boxes. I bought the WYWH box and was furious with the contents compared with any of the magnificent King Crimson boxes ! I would have thought these marketing people (for Rush) might have learnt something from these much more successful market models and thought to have provided medium and lower budget alternatives at the very least....