The SDE Surround Sound Series (Updated list of titles with links in post #1)

[Robert van Diggele]

I see at SDE, regarding this release, that it says 'will be available for 14 days only. The pre-order opportunity will close on 24 February.'
So the quantity will be based on what's pre-ordered not on a predetermined limited pressing amount?

Yes, this was done with other releases in the series as well, this gives people time to order and gives SDE a good way to see what the demand will be.

 

[Old Quad Guy]

Ordered. I have the other Bob Dylan surround titles and didn’t want to miss out here.

 

[~dave~~wave~]

This from the email inbox:

​ I just wanted to keep you in the loop and let you know that the SDE-exclusive Concert For George Blu-ray Audio will be delayed by a few weeks. It was due to ship this week, but this release is now not likely to be despatched before mid-March. Sorry to bring you this disappointing news. We'll be back in touch soon with a precise date, but in the meantime thanks for your patience!

​

​ Paul Sinclair SDE Shopkeeper & Editor

 

[JulesRules]

Two more days until the Dylan pre-order window closes, right?

 

[Simon A]

Two more days until the Dylan pre-order window closes, right?

 

[HenkG]

View attachment 88850

Tomorrow also maybe #9 announcement ???? Paul said 2 in feb.

 

[CINERAMAX]

I am going to ask again, more prog and fusion please. Stop the uninclusion!

 

[rtbluray]

I am going to ask again, more prog and fusion please. Stop the uninclusion!

I think we've certainly got enough prog music in surround sound, both old and new.
I appreciate the diversity of musical artists and genres that @PaulatSDE has managed to cultivate for the series thus far, even if I personally do not like all of the titles released thus far.

 

[CINERAMAX]

Certainly not enough Prog in Atmos, it is a bloody bigotted affront against that genre and fusion over at Apple, complete discrimination, I will ask and ask until i hear the Moog solo from Camel Breathless Lunar Sea circling my head and pingponging my ceiling. I have bought 3 from these Tears for fears, the sisters, and eno. I am done supporting until such time...

These are the 2 genres most suited for Atmos, without exception, the synth is an instrument that evokes psychodelia, and what is atmos ? A psychocoustical Canvas, both genres are thus ideal for the medium, the last thing we need in Atmos is another Fying Beatles and much less a whining Bob Dylan.

 

[jefe1]

I ordered the Dylan after not listening to my CD of TOOM for years so I did my part. I do pull out the SDE Tipping Point for listens and enjoy it. While I'm a big Eno fan this latest has just not knocked me out yet
I'm sure I will enjoy TYA at least the known quad mix. But I'm simply not going to buy every release.

I listen to music that I enjoy not just mixes though a good innovative mix will carry you some distance.
I guess I'm in the camp above there can never be too much prog in surround. Who here did not enjoy the Dukes of Stratosphere?

 

[JediJoker]

Certainly not enough Prog in Atmos, it is a bloody bigotted affront against that genre and fusion over at Apple, complete discrimination...

I'm sorry, what? Apple don't commission Atmos mixes. They have nothing to do with what is and isn't mixed in Atmos. Apple Music simply serve what they are provided.

 

[Quadkid]

I think we've certainly got enough prog music in surround sound, both old and new.
I appreciate the diversity of musical artists and genres that @PaulatSDE has managed to cultivate for the series thus far, even if I personally do not like all of the titles released thus far.

I’ve got 3 in the cue from SDE! Hope they start showing up soon!

 

[nikomen]

I am going to ask again, more prog and fusion please. Stop the uninclusion!

How about some Al DiMeola and Return to Forever. Have found some amazing upmixes but would love the real thing from the studios! And for Prog, what ever happened to a 5.1 of ELP’s Welcome Back My Friends?

 

[ArTourter]

Ooohh WhatHiFi just had an article about the 10th anniversary release of Daft Punk Random Access Memories getting the Dolby Atmos treatment (Great news: Daft Punk's Random Access Memories is getting a Dolby Atmos spatial audio mix). That would be a really great one to get an SDE bluray release!!!

 

[JulesRules]

Those asking for more prog and jazz fusion probably need to realize that - for better or worse - the SDE series seems to focus on music that Paul likes. He said some years ago that he never bought an ELP album. Not making a judgement here, just an observation.

Generally, I think prog fans have gotten served better with surround mixes than many other genres. Maybe not Atmos, but then again that's still a relatively new format.

 

[Blackwood]

Those asking for more prog and jazz fusion probably need to realize that - for better or worse - the SDE series seems to focus on music that Paul likes. He said some years ago that he never bought an ELP album. Not making a judgement here, just an observation.

Generally, I think prog fans have gotten served better with surround mixes than many other genres. Maybe not Atmos, but then again that's still a relatively new format.

It would be interesting to know, though, how these projects originate... how many specific titles did he get the ball rolling on vs. recordings that were presented to him as possibilities.

And as time goes on (assuming lots of success) does that balance shift with more people coming to him to be a part of the series? Or does success of the series mean he’s better placed to go after music he likes? (Or both?)

I would think that while Paul “the music fan” might like to push for certain artists (I know I would), Paul “the business owner” would take any genre where there was an expectation of selling a lot of discs, or where the artist is actively engaged in the marketing effort. Which is another interesting topic to me... of the discs released, how engaged were the artist or record companies in spreading the word?

 

[marcb]

It would be interesting to know, though, how these projects originate... how many specific titles did he get the ball rolling on vs. recordings that were presented to him as possibilities.

And as time goes on (assuming lots of success) does that balance shift with more people coming to him to be a part of the series? Or does success of the series mean he’s better placed to go after music he likes? (Or both?)

I would think that while Paul “the music fan” might like to push for certain artists (I know I would), Paul “the business owner” would take any genre where there was an expectation of selling a lot of discs, or where the artist is actively engaged in the marketing effort. Which is another interesting topic to me... of the discs released, how engaged were the artist or record companies in spreading the word?

I could be wrong here, by my modestly educated guess is - in addition to some pure cold calling salesmanship - he has connections with certain labels, mgmt groups, artists, etc which lend themselves to opening doors to projects which are possible candidates. I doubt there is much going in the other direction, i.e. artists, labels, etc reaching out to him. And to be honest, SDE is just a pimple on a gnat's behind. It's likely mostly unknown. Plus physical digital discs - particularly BD-A - are an afterthought in most of the industry (although there are certainly some exceptions).

While he's not a surround guy (at all), if you want some real world insight into how these types of projects go, read Shane's post on the lengthy Intervention Records thread over at the hoffman forums. It's not remotely as easy (on many fronts) with artists and labels as most like to think/hope it is.

 

[Blackwood]

I could be wrong here, by my modestly educated guess is - in addition to some pure cold calling salesmanship - he has connections with certain labels, mgmt groups, artists, etc which lend themselves to opening doors to projects which are possible candidates. I doubt there is much going in the other direction, i.e. artists, labels, etc reaching out to him. And to be honest, SDE is just a pimple on a gnat's behind. It's likely mostly unknown. Plus physical digital discs - particularly BD-A - are an afterthought in most of the industry (although there are certainly some exceptions).

While he's not a surround guy (at all), if you want some real world insight into how these types of projects go, read Shane's post on the lengthy Intervention Records thread over at the hoffman forums. It's not remotely as easy (on many fronts) with artists and labels as most like to think/hope it is.

Completely agree... it’s a small operation and I didn’t mean to make it sound like labels are pestering him day and night to release product. And being a follower of his site for years, I respect the connections he’s made over time which likely played a big role in making this project possible.

When I think of something like the TYA release, that’s an odd one to me. Was he a fan of the band and went after anything he could get TYA-related. Or did he go to Chrysalis and say, “Whatcha got?” Or, against the odds (mostly unknown, as your say) did someone come to him?

Not trying to overthink things. As I mentioned somewhere else, I’m simply fascinated with the behind-the-scenes of how this particular project works. Keeps me out of trouble as I wait for the next one to be announced or mailed.

 

[djstephan]

I agree with many of the thoughts expressed here , and I agree with Blackwood , it would be fun to find out what goes on behind the scenes and how this particular project does come to fruition. I personally try not to put too much thought into it and enjoy the ( Atmos surround) ride , cause who knows it may end just as suddenly as it started …. Like many others before .. less we forget Audio Fidelity , HFPA ..
… and I’m running out of shelf space .. fast ..

 

[marcb]

Completely agree... it’s a small operation and I didn’t mean to make it sound like labels are pestering him day and night to release product. And being a follower of his site for years, I respect the connections he’s made over time which likely played a big role in making this project possible.

When I think of something like the TYA release, that’s an odd one to me. Was he a fan of the band and went after anything he could get TYA-related. Or did he go to Chrysalis and say, “Whatcha got?” Or, against the odds (mostly unknown, as your say) did someone come to him?

Not trying to overthink things. As I mentioned somewhere else, I’m simply fascinated with the behind-the-scenes of how this particular project works. Keeps me out of trouble as I wait for the next one to be announced or mailed.

I have no inside knowledge, but it doesn't seem that odd to me. First off, TYA (artist and/or the label) has shown a previous willingness to work with a reissue label, so that narrowed it down right there. And I'm guessing it was known in some circles that they were doing atmos mix. Then throw in an existing quad mix. That's not a super common trifecta, so it actually seems like this one was a pretty logical target.