HiRez Poll Rush - MOVING PICTURES [DVD-A/BluRay Audio]

QuadraphonicQuad

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Rate the DVD-A/BDA of RUSH - Moving Pictures


  • Total voters
    120
To be honest, I haven’t played this album — or heard anything from Side 2 as a result — since I was listening to a cassette dub from my LP copy back in the early 80s. My band at the time used to cover “Tom Sawyer” and after playing that song what easily must have been literally 1,000 times, it’s not album I ever wanted to go back to lol.

I should probably compare the surround mix fidelity to the hi-res stereo before I diss it too much. And the muddy/boomy lowend I hear might just be a function of how I have my system set up. Although this isn’t something that has bothered me with anything else I’ve played through it recently. But I will admit I’m constantly making adjustments looking for that “perfect” sound. The search for the holy grail, yes? Lol

Are there surround mixes of “Permanent Waves” and “Signals”? If so, how do you find them? Those were the only other Rush albums I cared much for back in the day. I wouldn’t mind giving those a spin if they are any good.
P-Waves, no. We're hoping for a competent mix next year.
Signals is another Chycki Special. I'd say it's about as good as MP in 5.1 and more of an improvement over the LP. For some reason it has been undeservedly underrated here on QQ. You can find it as a HFPA BD or on DVD-A in the Sector 3 set.
If you want to hear Chycki's worst Rush mix for bottom-end, that would be Snakes and Arrows. Worst overall mix, to these ears is Hemispheres.

Sent from my TA-1025 using Tapatalk
 
Agree with hiring Elliot Scheiner or Steve Wilson for the mixes. Almost seems there is still a learning curve to go thru for these guys. Thats what comes from completely forgetting/ignoring quad history and studying those mixes for techniques. Wouldn't it be nice if you could get multiple surround mixes on a disc like the cd single remixes that used to be popular? A choice of highly discrete, matrix blended, or experimental?

I like that idea!
 
Ah, you bring up a good point. I hadn't thought about this material being listened to on systems utilizing Bass Management. Perhaps there is something lost in translation. I'll have to try changing my settings to small speakers, just to see how dramatic the change is.

I'm reading this thread fully now, you may have already stated, but did you set your speakers to small? If so, what was the differences?

I just listened again to my Blu-ray version of "Moving Pictures" with my bass management setup (I won't set all my speakers for large just to see if there are any differences.) With the way my system is set up (all speakers set to small) I feel there is way too much upper bass (at least with my system) for it to be a really enjoyable listening experience, and with what little low bass there is...it doesn't kick much in that region. The high resolution stereo version has very little bass, but does sound good when it's really turned up...and non of that huge amount of upper bass like the 5.1 version has.
 
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And the muddy/boomy lowend I hear might just be a function of how I have my system set up. Although this isn’t something that has bothered me with anything else I’ve played through it recently. But I will admit I’m constantly making adjustments looking for that “perfect” sound. The search for the holy grail, yes? Lol

You hit the nail on the head when talking about the bass. Muddy and Boomy at least on my system as with yours. The thing that gets me the most, is many times I have read what others have been experiencing while listening to this same mix is that the bass is either thin or very weak, and very few (you and one or two others) mentioned that the bass was either muddy and/or boomy. So what gives? The only thing I can think of is it's very possible that audio systems were not as capable in the low end department during the time this disc was originally released. Of course systems even then could very easily play bass very low and very loud, however over this past eight years or so, subwoofers have increased in the size including the amount of wattage their built in amps are capable of, and the drivers have also increased in size. My two brand new (sealed) subs are 13" each and even today those fall somewhere in the mid bass driver size when compared to what people can easily buy today...woofers with 18" drivers are typical for those looking maximum bass output for the Low Frequency Effect channel in movies and of course those same woofers can be used for music...though may not be as detailed sounding as a smaller sub driver, but it sure will kick.

The other thing that might be more common today when compared to just about eight years ago or so, is there are more and more audiophiles and or enthusiasts today either doing their own calibrations with equipment that was simply way too expensive and/or not as readily available even when compared to just a few years ago. And, there are others like me who have a professional come over to have their audio/video system calibrated. So bass in the lower end being more equalized will (probably in most cases) be playing most if not all lower frequencies at (ideally) equal levels throughout the low end range. And of course from there, it's typical to boost the bass somewhat since flat sounds lifeless in most cases. There's personal preferences to consider too.

I have also read there are a few who thought the bass was pretty much the right amount. Boosted bass from the mix in other homes may be ideal if their systems are somewhat bass deficient, so that may sound ideal to them.

And then of course we have to realize how all this sounded with whatever equipment they were using in the mixing room during the making of this 5.1 mix. It probably sounded very good, with their equipment and the room they were in. Equipment is different, every room is different, and different placement of the same subs even in the same room will sound different. By the way, studio speaker monitors I've recently learned are to help point out what's wrong with the mix as apposed to listening for audiophile qualities. Of course I do not know if it's really practiced like that industry wide or not.

I've just read pretty much read all the way through this thread because now just after discovering QuadraphnicQuad, I have a good excuse to experience the surround sound mixes of some of these multi-channel discs I've bought well over 10 years ago. Many I've only listened to one time and maybe a couple others a couple of times. The other reason why I've been revisiting my multi-channel discs is because of a recent upgrade to my audio system and I want to hear the differences. And of course now that I know about QQ, it's fun to listen to a multi-channel disc and then come hear to compare with others what they thought of the same mix I just heard.

Originally I listened to my Blu-ray version of "Moving Pictures" only one time because at that time it just didn't sound good on my system. If I remember correctly, it sounded bass heavy and everything else sounded kind of weak. It was like something was missing or sounded off, so I simply listened to the high resolution stereo mix which by the way I think sounds great. Now with my audio upgrade; I've discovered the bass is way too overpowering and boomy sounding on the 5.1 version. Of course I can take the time to turn the bass down...and I will soon and take another listen to see if it helps to hear other details I may have recently missed. But I'm not one to be adjusting my system's audio levels and/or TV settings once something has been calibrated by a professional. If a recording sounds too thin or has way too much bass, well that was the way it was mixed, approved and released.

During the 70s and 80s, my equipment had tone controls to easily turn up or down bass and or treble for such occasions. Even some of the equipment I used to have had midrange controls. I've even had equipment with no tone controls, so however it sounded in my room was well...how it sounded. And even though the equipment I have today does not have tone controls, it does have a way to adjust equalization. Yea, I could go into the menu's setup and start playing with those adjustments, but again after a professional calibration; I'm just not going to go in and start messing with those as most everything I put through my system sounds great as I would expect.

I would simply say with my system in my room; the 5.1 mix of "Moving Pictures" is way too bass heavy.
 
There is no standardization pf practices for music mixing (unlike movie soundtrack mixing). So whether what they heard in the studio, matches what you hear, is a total crapshoot. Floyd Toole includes this in his 'Circle of Confusion'.

I have also found from objective comparison (measurement) that LFE content in 5.1 mixes varies considerably not only between albums and engineers, as one might expect when there are no standards, but also between lossy vs lossless of the same album. It's ridiculous.
 
Thanks for that info, that's quite interesting.

Well, I gave the 5.1 version another listen tonight, but this time with the bass turned down somewhat. What I heard was much more balanced audio with added emphases on all the music from (probably) about 90Hz on up. (The crossover on my mains are set at 90Hz.) There was more impact from the drums, the electric guitars came through much clearer with more detail including all other instruments including the sound effects...mainly from simply being able to turn up the volume while not being drowned out by the bass.

I could hear more clearly the difference between the upper bass (which there is still a lot of,) and the lower bass. The lower bass is clearly there, but not at a high level, but it does kick somewhat. It could have helped during the remastering to pump up the lower harmonics somewhat from the kick drum for much more of a impactful experience. Doing so however may have moved the remix away from what the band members were looking for. Also, I think it's possible there might have been a small sub, or just full range studio monitors that may not have been able to reach that low very easily...so putting emphases on the upper bass may have really sounded like kick ass bass during the remixing. Of course I'm just speculating.

The remastered stereo has bass levels that are even lower, with of course everything else being much louder...including those drums everyone likes to hear on this album. In that case, returning my bass to their originally calibrated settings certainly helps; that and turning up the volume control as suggested in the notes gives one hell of a performance which I feel is a pretty good recording for this type of music recorded in 1980.
 
The blu ray surround mix is amazing. Maybe some of the lukewarm votes on this are for the dvd-v? Not sure.one of my favorite surround mixes ever. Gives me goosebumps, mainly Red Barchetta, every time.
 
Nice alternative to the original stereo mix, but underwhelming overall: it's a 6/10 for me, just sufficient.

First, the mastering is loud and fatiguing; I would have preferred a more relaxed presentation. Second, I really enjoyed Vital Signs, being the best surround track on this album by a large margin. I've also enjoyed Limelight and (partially) Tom Sawyer. I think the other tracks don't really take advantage of the surround capabilities. To me, they sound like wide stereo. I would only recommend this disc to real fans of the albums, as an alternative to the beautiful 2015 stereo remasters.
 
So I take it this was a true re-mix and not just the original 5.1 subjected to a bit of additional Atmos processing?
Additonal ATMOS processing>that would be an upmix. i haven;t heard any upmixes on Tidal.

Tom Sawyer ATMOS mix is a different mix with different mastering. No more boosted high mids or harshness. Wide open, huge and dynamic. Great use of overheads and surrounds for synths.
 
Additonal ATMOS processing>that would be an upmix. i haven;t heard any upmixes on Tidal.

Tom Sawyer ATMOS mix is a different mix with different mastering. No more boosted high mids or harshness. Wide open, huge and dynamic. Great use of overheads and surrounds for synths.
Since this is the 40th anniversary of Moving Pictures, I am kinda looking forward to an anniversary edition with a brand-spanking-new Atmos remix of the whole album. Your post gives me hope.
 
I would double dip only for a Steven Wilson mix.

If the band offered, I can't see him saying no. Here's what he said to S&V about it back in 2009:
One of my favorite bands at its very peak. Moving Pictures is that rare thing: a 40-minute album without a wasted note or even a weak moment. It was made with relative economy compared with some of the other albums on this list, yet the interplay between the three extraordinary musicians (and the tasteful integration of synthesizers) would be a blast in 5.1.
 
A lot of this album is overplayed now, but this is just such a great album and well deserving of its praise. Which makes this mix all the more disappointing. Drums don’t really sound that great, Vocals are sometimes buried and the guitars are sometimes a little bit loud. Overall it just feels like something is off with everything and does not sound like a cohesive unit like the stereo version.

The reverbs just do not sound correct or very good at all. It sounded like Chycki just put a preset from a plug-in or rack unit that was close enough and called it at day. Needed to be manipulated a bit more to get it sounding more in line with the stereo version. I went back to listen to "Fly By Night" to see if I missed how they sounded or its just bad on this one. They don’t sound that great either, but that album does not have a lot of reverb happening on it like this one. It really stands out with the vocals. On 'Tom Sawyer' and especially 'Vital Signs', Geddy just sounds awful and swimming in reverb. Pretty disappointing.

Tom Sawyer: That first synth note should sweep over you from the fronts to the rears. That would be an awe inspiring moment and really set this album off on a good note. It kind of goes from the back to the front, but its lacking the power that I feel it should have. Otherwise its mostly the band up front and synths/reverbs/cymbals sitting in the rears. It doesn’t live up to the potential that this song has. Very front heavy.

Red Barchetta: Same as Tom Sawyer. A very front heavy mix with nothing exciting happening.

YYZ: That morse code triangle opening finally gives us our first great moment! I wish it was a little more erratic in its placement (instead of just going around in a circle) but i’ll take any ear catching moment at all. Otherwise it just settles down into the same bland mix like the first two songs. This is a song where you can hear how disappointing the drum reverbs sound because NOTHING is really happening in the rears on this one.

Limelight: No redeeming qualities to the mix at all. Nothing really happens at all. Just blah.

The Camera Eye: The start of this song is amazing. Why isn't the whole album like this?!? Different sounds encompassing you and it really put a smile on my face. I was not expecting a snare to come from the phantom rear. Unfortunately, once the song gets going, its just quite the boring mix. There was a lot of extra potential to do some great things that didn’t happen.

Witch Hunt: That swirling synth is great in the beginning. Some of the drums getting to the rears was a nice surprise as well. Probably the best mixed song on the album, which is great because it’s my favorite.

Vital Signs: Great movement with the synth, guitars and high hat in the beginning! It’s pretty good except for the vocal reverb.

Overall just a blah mix. Feels like Chycki didn’t have the guts to do anything exciting with the songs that everyone knows and felt more comfortable with messing around a little bit on side b. It also it just a fatiguing listen, which makes me question the mastering. I tried cranking this album and one run though was definably enough (unlike SW's "AFTK").

I’m going to have to give this a 6 because its definitely not mixed better than "Fly By Night" (which I gave an 8) and I have to take a couple points off for the reverb and the fact that I enjoyed this album more in stereo (which has never happened so far). This album is a motherfucker that doesn’t miss a beat. It deserves the same great treatment that AFTK’s got with Steven Wilson’s mix. Hopefully next year that will happen since its the 40th anniversary. I think would have given this score whether it was in 2011 or now. Its just now we know what a great Rush surround album should be like.

Highlights: The first 2 minutes of Camera Eye, Witch Hunt, and Vital Signs.
 
A lot of this album is overplayed now, but this is just such a great album and well deserving of its praise. Which makes this mix all the more disappointing. Drums don’t really sound that great, Vocals are sometimes buried and the guitars are sometimes a little bit loud. Overall it just feels like something is off with everything and does not sound like a cohesive unit like the stereo version.

The reverbs just do not sound correct or very good at all. It sounded like Chycki just put a preset from a plug-in or rack unit that was close enough and called it at day. Needed to be manipulated a bit more to get it sounding more in line with the stereo version. I went back to listen to "Fly By Night" to see if I missed how they sounded or its just bad on this one. They don’t sound that great either, but that album does not have a lot of reverb happening on it like this one. It really stands out with the vocals. On 'Tom Sawyer' and especially 'Vital Signs', Geddy just sounds awful and swimming in reverb. Pretty disappointing.

Tom Sawyer: That first synth note should sweep over you from the fronts to the rears. That would be an awe inspiring moment and really set this album off on a good note. It kind of goes from the back to the front, but its lacking the power that I feel it should have. Otherwise its mostly the band up front and synths/reverbs/cymbals sitting in the rears. It doesn’t live up to the potential that this song has. Very front heavy.

Red Barchetta: Same as Tom Sawyer. A very front heavy mix with nothing exciting happening.

YYZ: That morse code triangle opening finally gives us our first great moment! I wish it was a little more erratic in its placement (instead of just going around in a circle) but i’ll take any ear catching moment at all. Otherwise it just settles down into the same bland mix like the first two songs. This is a song where you can hear how disappointing the drum reverbs sound because NOTHING is really happening in the rears on this one.

Limelight: No redeeming qualities to the mix at all. Nothing really happens at all. Just blah.

The Camera Eye: The start of this song is amazing. Why isn't the whole album like this?!? Different sounds encompassing you and it really put a smile on my face. I was not expecting a snare to come from the phantom rear. Unfortunately, once the song gets going, its just quite the boring mix. There was a lot of extra potential to do some great things that didn’t happen.

Witch Hunt: That swirling synth is great in the beginning. Some of the drums getting to the rears was a nice surprise as well. Probably the best mixed song on the album, which is great because it’s my favorite.

Vital Signs: Great movement with the synth, guitars and high hat in the beginning! It’s pretty good except for the vocal reverb.

Overall just a blah mix. Feels like Chycki didn’t have the guts to do anything exciting with the songs that everyone knows and felt more comfortable with messing around a little bit on side b. It also it just a fatiguing listen, which makes me question the mastering. I tried cranking this album and one run though was definably enough (unlike SW's "AFTK").

I’m going to have to give this a 6 because its definitely not mixed better than "Fly By Night" (which I gave an 8) and I have to take a couple points off for the reverb and the fact that I enjoyed this album more in stereo (which has never happened so far). This album is a motherfucker that doesn’t miss a beat. It deserves the same great treatment that AFTK’s got with Steven Wilson’s mix. Hopefully next year that will happen since its the 40th anniversary. I think would have given this score whether it was in 2011 or now. Its just now we know what a great Rush surround album should be like.

Highlights: The first 2 minutes of Camera Eye, Witch Hunt, and Vital Signs.
Great review! Seems like we’re all in agreement that Chycki ought to pursue another career.
 
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