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Discussion Starter · #1 · (Edited)
Many of you have been e-mailing me asking about what, if anything, the MQR team has been working on. This is the first of many releases to come in the next 6 months. We are back in force. Enjoy!

Pink Floyd
Syncopated Pandemonium - A Revisiting of A Saucerful of Secrets - MQR 016

This remix came about when, in a conversation between creamcheese and }{eywood, CC mentioned an idea he had of synchronizing the mono and stereo mixes of A Saucerful of Secrets and seeing what came of it. When asked why he said because the mono mix is better but, well, mono, and the stereo mix is very early stereo, split wide, and kinda sucks.

So we began to investigate. We started with 24/96 transfers of a Record Store Day release of the mono mix LP that CC had bought, and a remastered stereo LP he also recently acquired. }{ contributed a 2011 remaster CD and the work began synchronizing the sources.

The first problem we had to contend with was speed drift on the LP sources (and on the source tapes they were made from). we found it very difficult to get some songs to match up using the LP sources, so started using an upsampled CD master as the stereo source for many songs.

One of the nice features of early stereo recordings is the ability to isolate tracks using phase manipulation. this techinque is called OOPS (out of phase stereo) and helped us isolate vocal and backing track elements from each other to create new stereo mixes using the original mono mix as a foundation. This album contains new sound field positioning of vocal and other tracks, and other than a couple of pans the mono mix is there shining through it all.

1. Let There Be More Light is the mono and stereo LPs synchronized together. The vocals and instrumental backing track were isolated from each other by OOPS, then the mono backing track was spatialized into fake stereo and folded in with the mono mix to give some width to the more obviously mono parts of the mix. The isolated vocal was panned to match the official mix, then the channels were swapped and the track put back in the mix slightly offset in time, creating a slap echo on the vocal in the channel opposite it and filling the stereo field more realistically. As the mono mix fades out a bit earlier, we parallel faded the stereo mix at that point as well.

2. Remember a Day was a bit of a problem song because it was almost completely in mono. The only thing that was stereo was the vocal, which was panned to one channel or the other. The song was reverse engineered by taking the CD track, phase cancelling the music and extracting the vocals, then setting them aside for later. An instrumental mono backing track was created by first panning the channels of the stereo mix around the vocals and reducing the remaining music to mono similarly to LTBML, then rechanneling the resulting mono backing track into fake-stereo. This was then mixed together with the mono LP, creatively panned now and then. The vocals were then overlaid with new digital pans and spatial effects, also opposite panned to the lead vocal in the verses.

3. Set the Controls for the Heart of the Sun is a sync of the mono and stereo LPs. This is one of the more interesting stereo mixes on the album, and not much was needed to enhance it. A spatialized version of the mono mix was laid into the mix to spread out the more mono sections, mostly the middle part.

4. Corporal Clegg is a mix of the mono LP and the CD except for one spot in the second verse where there was nothing we could do to avoid an annoying phasing sound (probaly a warble in the transfer of one of the master recordings when the CD or LPs were pressed, so about 10 seconds is the two LPs synced.

5. A Saucerful of Secrets is a sync of the mono and stereo LPs. As with Set the Controls, this is one of the better stereo mixes on the record, but we managed to enhance it a bit. The first 1/3 has a spatialized copy of the mono version laid in behind it to open up the center a little. the middle section has had the piano and guitar effects separated from the mix and reinserted in a more dramatic fashion, and with enhanced stereo imaging. Interesting difference in the middle where the mono mix doesn't fade out of the cacophany as fast as the stereo one. We panned this spot a bit to make it less noticeable. The final part has had the opening organ part and the choir enhanced.

6. See-Saw was created similar to Remember a Day. The stereo mix is a mostly mono backing track including the vocal, with some melotron, vibes and backing vocals laid over in stereo. We extracted the mono backing track from the CD and used it to replace just the three spots where the harmony vocal appears. This kept Rick's vocal unaccompanied in the middle. The three bombastic notes that pan across the channels after each verse were mixed to mono and put on another track, then the stereo pans were recreated digitally with much more precision than the original album. we even fixed a mistake in the panning after the first verse. The mono track was also spatialized and mixed in with the rest. The result is a stereo mix that is similar to the official mix, but smoother.

7. Jugband Blues seemed like it was going to be a problem because there was no difference at all in the mono and stereo mixes except for 30 seconds near the end. The stereo version is in mono except for the Salvation Army Band part near the end being panned back and forth. This made it pointless to try to make a stereo mix from.
Luckily there is a 2010 stereo remix of that one song on the Early Years box set that served the purpose quite well. Because it was also built on a thick mono backing track we chose to extract the stereo elements and fold them in over the mono mix.
This was to avoid phasing when the two mono tracks met up.

We have also included two singles to complete the package.

8. Vegetable Man and 09. Scream Thy Last Scream were done by syncing the 2010 mixes with the older mixes, the 74 mix for VM and the 87 for SCLS.

10. Careful With That Axe Eugene is the mono mix with the wider panned elements of the stereo mix added in over it. The low end was cut from the stereo mix and the high end from the mono mix to avoid phasing issues.

11. Julia Dream was done similar to careful, but with an added layer of spatilaized mono mix added in, as the resulting sync of the mono and stereo mixes came out about 80% mono.


Brought together these make up a new stereo mix of
A Saucerful of Secrets album, more modern, yet respecting the sound of the era.
The final mixes had the low end mixed to mono below 250hz to keep
the kick drum and bass centered, and a little sweetening EQ.
We didn�t use any extensive noise reduction, so some hiss is still apparent in the final results.
All work was done in 24/96 with Adobe Audition, but some of the source files were 16/44.1. For the sake of honesty this is a 16/44.1 release only.


Sources:
RSD Mono LP
2011 remastered stereo CD
2011 remastered stereo LP
The Early Singles mono mixes from Shine On box
Relics stereo mixes
The Early Years box set.
Jenner and Jones single mixes

Released by MQR in November 2021

Magna Qualitas Records are
creamcheese - }{eywood - WRomanus

This is a fan-made release for fans and should not be used by any stinky, greedy bootlegger to make money with other people�s work.
If you like this release we at MQR urge you to buy the original album, in case you don�t have it already. If you have it already,
we recommend to buy the remaster as well, because it really sounds awesome (Remember a Day has acoustic guitar that doesn't sound like it's recorded underwater for example).

 

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Wow, great job ... I will say I can hear some phase or at least I think I can hear it .... However, just a spot listen really BUT ... this sounds really really good overall ... it is "modern" I can certainly hear a lot of detail that seems buried in other mixes... anyone ever had the experience like me , when you watch a movie (modern movie) the pop tune that you have heard for years sounds so good and huge on the DVD? This source reminds me of that ... I guess , when Iron Man movie plays "back in black" in the beginning ... it's the best sounding version I've ever heard... why? Because , it get's remixed for the high resolution DVD, sometimes they can get the stems and even create a new mix. However, even in older movies those classic rock and pop tunes sound great , again , because they are mixed for that format. Fab Dupont, legendary producer, said at a master class I went to at Sweetwater , "it's all about the destination of the final product" for example , mixing for ear buds, mixing for cinema, mixing to vinyl, mixing to tape, mixing 5.1 or Atmos, all require different techniques ...it's not one size fits all anymore ...

a real big KUDOS to you guys out there taking your time and talents to do this kind of mixing and remastering... I mean, let's face it ... I remember the days of 3rd gen cassettes, bootleg vinyl, and god bless the good FM programs like King Biscuit, Hempstead, etc. - can it get any better??? who knows? Binaural, virtual goggles, irrefutable CGI, and holograms? So our largest challenge is how to get all that old rock and roll, blues and jazz into that modern category because let's face it ... I'm not counting on "new or modern" music to even compete with the "classics".
 

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Discussion Starter · #7 · (Edited)
I'm so happy you like it. There were a couple of phasey spots that I offset the tracks a few samples to avoid, but there were others that I felt actually accented the performance and I left them in there
 

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wow! wow! wow!

I have to tell you, for years I have checked every morning the MQR web site page! I stopped perhaps a few years ago. Not a few days.
I'm glad to see that this label is back, especially during these tense days (strange days indeed as John Lennon used to sing)- we need music these days more than ever! thank you so much! I'll post later my comments about this set.
what a great team ! brings back so good memories ! If you are in touch with Walter please say hello from me (I happened to appear on the Z.Point DVD credits).

Heywood, I really enjoyed your audience recording (excellent audience) by King Crimson - "Island" is superb. I've always liked this song and wonder why it has not been performed during the seventies. This performance is stunning.
 

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oh and by the way, I really enjoy the front artwork with Dr Strange ! really tasty ! I remember this blog which shows the actual cartoon which was used (and can be seen in the background of the official cover, kind of like an old painting) for the cover.
 

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Many of you have been e-mailing me asking about what, if anything, the MQR team has been working on. This is the first of many releases to come in the next 6 months. We are back in force. Enjoy!

Pink Floyd
Syncopated Pandemonium - A Revisiting of A Saucerful of Secrets - MQR 016

This remix came about when, in a conversation between creamcheese and }{eywood, CC mentioned an idea he had of synchronizing the mono and stereo mixes of A Saucerful of Secrets and seeing what came of it. When asked why he said because the mono mix is better but, well, mono, and the stereo mix is very early stereo, split wide, and kinda sucks.

So we began to investigate. We started with 24/96 transfers of a Record Store Day release of the mono mix LP that CC had bought, and a remastered stereo LP he also recently acquired. }{ contributed a 2011 remaster CD and the work began synchronizing the sources.

The first problem we had to contend with was speed drift on the LP sources (and on the source tapes they were made from). we found it very difficult to get some songs to match up using the LP sources, so started using an upsampled CD master as the stereo source for many songs.

One of the nice features of early stereo recordings is the ability to isolate tracks using phase manipulation. this techinque is called OOPS (out of phase stereo) and helped us isolate vocal and backing track elements from each other to create new stereo mixes using the original mono mix as a foundation. This album contains new sound field positioning of vocal and other tracks, and other than a couple of pans the mono mix is there shining through it all.

1. Let There Be More Light is the mono and stereo LPs synchronized together. The vocals and instrumental backing track were isolated from each other by OOPS, then the mono backing track was spatialized into fake stereo and folded in with the mono mix to give some width to the more obviously mono parts of the mix. The isolated vocal was panned to match the official mix, then the channels were swapped and the track put back in the mix slightly offset in time, creating a slap echo on the vocal in the channel opposite it and filling the stereo field more realistically. As the mono mix fades out a bit earlier, we parallel faded the stereo mix at that point as well.

2. Remember a Day was a bit of a problem song because it was almost completely in mono. The only thing that was stereo was the vocal, which was panned to one channel or the other. The song was reverse engineered by taking the CD track, phase cancelling the music and extracting the vocals, then setting them aside for later. An instrumental mono backing track was created by first panning the channels of the stereo mix around the vocals and reducing the remaining music to mono similarly to LTBML, then rechanneling the resulting mono backing track into fake-stereo. This was then mixed together with the mono LP, creatively panned now and then. The vocals were then overlaid with new digital pans and spatial effects, also opposite panned to the lead vocal in the verses.

3. Set the Controls for the Heart of the Sun is a sync of the mono and stereo LPs. This is one of the more interesting stereo mixes on the album, and not much was needed to enhance it. A spatialized version of the mono mix was laid into the mix to spread out the more mono sections, mostly the middle part.

4. Corporal Clegg is a mix of the mono LP and the CD except for one spot in the second verse where there was nothing we could do to avoid an annoying phasing sound (probaly a warble in the transfer of one of the master recordings when the CD or LPs were pressed, so about 10 seconds is the two LPs synced.

5. A Saucerful of Secrets is a sync of the mono and stereo LPs. As with Set the Controls, this is one of the better stereo mixes on the record, but we managed to enhance it a bit. The first 1/3 has a spatialized copy of the mono version laid in behind it to open up the center a little. the middle section has had the piano and guitar effects separated from the mix and reinserted in a more dramatic fashion, and with enhanced stereo imaging. Interesting difference in the middle where the mono mix doesn't fade out of the cacophany as fast as the stereo one. We panned this spot a bit to make it less noticeable. The final part has had the opening organ part and the choir enhanced.

6. See-Saw was created similar to Remember a Day. The stereo mix is a mostly mono backing track including the vocal, with some melotron, vibes and backing vocals laid over in stereo. We extracted the mono backing track from the CD and used it to replace just the three spots where the harmony vocal appears. This kept Rick's vocal unaccompanied in the middle. The three bombastic notes that pan across the channels after each verse were mixed to mono and put on another track, then the stereo pans were recreated digitally with much more precision than the original album. we even fixed a mistake in the panning after the first verse. The mono track was also spatialized and mixed in with the rest. The result is a stereo mix that is similar to the official mix, but smoother.

7. Jugband Blues seemed like it was going to be a problem because there was no difference at all in the mono and stereo mixes except for 30 seconds near the end. The stereo version is in mono except for the Salvation Army Band part near the end being panned back and forth. This made it pointless to try to make a stereo mix from.
Luckily there is a 2010 stereo remix of that one song on the Early Years box set that served the purpose quite well. Because it was also built on a thick mono backing track we chose to extract the stereo elements and fold them in over the mono mix.
This was to avoid phasing when the two mono tracks met up.

We have also included two singles to complete the package.

8. Vegetable Man and 09. Scream Thy Last Scream were done by syncing the 2010 mixes with the older mixes, the 74 mix for VM and the 87 for SCLS.

10. Careful With That Axe Eugene is the mono mix with the wider panned elements of the stereo mix added in over it. The low end was cut from the stereo mix and the high end from the mono mix to avoid phasing issues.

11. Julia Dream was done similar to careful, but with an added layer of spatilaized mono mix added in, as the resulting sync of the mono and stereo mixes came out about 80% mono.


Brought together these make up a new stereo mix of
A Saucerful of Secrets album, more modern, yet respecting the sound of the era.
The final mixes had the low end mixed to mono below 250hz to keep
the kick drum and bass centered, and a little sweetening EQ.
We didn�t use any extensive noise reduction, so some hiss is still apparent in the final results.
All work was done in 24/96 with Adobe Audition, but some of the source files were 16/44.1. For the sake of honesty this is a 16/44.1 release only.


Sources:
RSD Mono LP
2011 remastered stereo CD
2011 remastered stereo LP
The Early Singles mono mixes from Shine On box
Relics stereo mixes
The Early Years box set.
Jenner and Jones single mixes

Released by MQR in November 2021

Magna Qualitas Records are
creamcheese - }{eywood - WRomanus

This is a fan-made release for fans and should not be used by any stinky, greedy bootlegger to make money with other people�s work.
If you like this release we at MQR urge you to buy the original album, in case you don�t have it already. If you have it already,
we recommend to buy the remaster as well, because it really sounds awesome (Remember a Day has acoustic guitar that doesn't sound like it's recorded underwater for example).

Thank you!!
 
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