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gibsonfan159

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  1. 2007 VS 2018 This one is simpler. The 2007 peaks are white and 2018 peaks black. Opposite for the average db levels. 2007 black and 2018 white. You can clearly see the boosted treble range on the 2018 remaster. Strangely, it's much louder on average everywhere except the lows. But the 2007 peaks are higher, meaning the audio was less gated/compressed. I can't really explain that unless it's the discrepancy between the mp3 and flac.
  2. Here's a first attempt. 1976 VS 2007. Peaks>vertical bars Light blue and purple= 1976 Gray=2007 Average db per frequency>short horizontal bars- Black=1976. Blue=2007
  3. If time allows tomorrow I'll attempt to colorize each graph and overlay them so the visual comparison will be easier.
  4. Unfortunately the free analyzer I downloaded is pretty limited and this is more of a test run until I can find something with more detail, but it gives an idea of the difference in mixes. This is simply a 60 band frequency analyzer showing the levels of the audio mix. The original release has a lower mid-range which gives it a dryer sound. The average db levels for each frequency are very unbalanced. It has a treble peak about where the guitar sits and the guitar on this track is noticeably up front compared to the other versions. Theres more distance between the peaks and lows can(I forget that technical term). The extreme lows and highs are rolled off sharply, so although this mix has a lot of punch it doesn't have a very broad soundscape. That's pretty common for 70s rock mixes. The 2007 remaster has the highest peaks (4 frequencies over the -20db mark). It has slightly more bass and mid-range than the original, but less treble. But, the extreme lows and highs are up in the mix and the average levels are very balanced, giving a "bigger" sound. The 2018 remaster looks almost identical to the 2007 version except it has less peaks. This confuses me as I've always read that the 07 mix was over compressed and louder, but that would make the range have less peaks (gated) but an overall higher average. Looks like the opposite here, but I'm amateur at this at best. One thing I've noticed both visually here and audibly is the highest frequency on the graph. It doesn't even register on the first two but is way up on the 2018 version. Maybe others can back this up, but I can notice Bonzo's cymbals being more audible in the latest release, and that's about where cymbals sit. I'd like to see someone who really knows this stuff delve in a little more (I've thought about bringing it up in the stevehoffman forums). I plan on doing all the studio takes of TSRTS as soon as my 80s copy of HOTH arrives. EDIT: One thing this doesn't take into account is the instrument stereo balance. Page rearranged the balance on the remasters, keeping the guitar on the right side (where he'd be in concert). Unlike the original release that had instruments swapping places.
  5. Here's a comparison of "The Song Remains The Same" from the live albums of the same name. Features the original 1976 release, 2007 remaster, and 2018 remaster. The screenshots were all taken during Plant's final scream near the end. The background bars represent the audio level peaks. The small blue lines represent the average audio level. The colored bars only represent the current audio level and should be ignored. The green/yellow separation is to help compare the average levels. The only variant is the 2018 version being a flac file, the others 320 mp3. Of course there are much more detailed ways to go about this and I'd appreciate input.
  6. Just for fun I thought I'd run different release versions of songs through a spectrum analyzer to get a visual comparison of the mixes. I'm doing a very basic comparison, but if anyone with more knowledge on the matter would like to contribute that would be great.
  7. And the single album releases were from the 94 remasters, correct? As in, no individual CD release was based on the 1990 remasters and they only exist on that boxed set?
  8. On this topic, I've been very interested lately in comparing the audio/mix levels between all the different releases. Starting maybe by collecting all the releases of a single album and running them through a spectrum analyzer. Anyone know if this has already been done?
  9. Cincinnati 77. Very underrated show. Plant sounds excellent, Bonham is lively, Page isn't on fire but he's very solid for 77.
  10. Looks like Page's face on Blackmore's body.
  11. I will say that's the best Kashmir ever. I don't think any of the NY or LA versions stand up to it.
  12. I listened to 4/28 again recently and seems like it didn't impress me as much this time. I noticed some flubs I didn't before. Still a solid show.
  13. On another note; if this show is believed to be multitracked, doesn't a crappy soundboard eliminate Page's involvement altogether? The likelihood of him releasing or even bothering with a flat soundboard would be very unlikely considering his unwavering attitude towards releasing severely edited products. I think any notion that Page is responsible for this (or any other boot) is ridiculous. Not only had he been vehemently against boots from day one, he could undoubtedly afford to have even a dry soundboard touched up to a professional level (BBC Sessions). There's 0% chance that Page is involved.
  14. Now put that in the perspective of him handing out his master tapes all Willy nilly and care free. Doesn't add up, does it? Maybe it's just me, but I have a really hard time believing that a compulsive control freak like Page would let anything slip through his hands that easily. Again, anyone involved on a professional level with Page who was granted these soundboards (not multitracked so that's 99% not Page anyway) and decided to release them for chump change would be committing career suicide.
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