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PG Super Deluxe Box packaging defects


mrledhed

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I have had quite of few of these needing to be replaced because the box is breaking at the seams. I assume these weren't packed properly to send to the retailers as they didn't take into factor the extra discs adding to the weight. Those boxes aren't supposed to hold 3 records they break apart. Also, the Lp sleeves inside are very "crinkled" as if they weren't inserted properly.

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I had a defect with mine. It has a slight lean meaning it's not flush with the rest (about 0.5cm at the top). I had a quick moan to Amazon who offered me a 30% refund or I could post it back and they'd replace. This was going to be a mission from Australia, and I rationalised that as soon as the Presence one arrives PH will get wedged nicely against HOTH so I took their money.

Otherwise packaging and vinyl for me has been superb.

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I have had quite of few of these needing to be replaced because the box is breaking at the seams. I assume these weren't packed properly to send to the retailers as they didn't take into factor the extra discs adding to the weight. Those boxes aren't supposed to hold 3 records they break apart. Also, the Lp sleeves inside are very "crinkled" as if they weren't inserted properly.

I had to return mine as well. The cardboard for the lp sleeves are much thinner than that of my original 70's P.G.

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Again the inconsistent quality control would drive me nuts if I spent that kind of money... If I had it. I look at my definitive rhino box and shake my head that's how it should have been done in all formats. Inner sleeves for cd's etc

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Again the inconsistent quality control would drive me nuts if I spent that kind of money... If I had it. I look at my definitive rhino box and shake my head that's how it should have been done in all formats. Inner sleeves for cd's etc

Now this I wholeheartedly agree with. The Definitive Collection box-set was just sublime in it's overall packaging and presentation; exact replicas of the album sleeves (both outer and inner) right down to the textured covers, protective outer and inner sleeves, lovely box set, the whole works... it's just a shame they're out of print, too expensive, and not worth buying from third-party sellers on Amazon 'cause you don't know if you'll get the genuine article or a Chinese bootleg :(. The only downside to that collection is you get the 2007 remixed TSRTS not the 1976 version, and although you get the expanded Coda, that edition is going to be obsolete in about three months when the remastered and even-more-expanded version is released.

The Super Deluxe sets of these new remasters do have the albums in exact mini-LP replica sleeves (with protective outer and inner covers I might add), it would be nice if in the relatively near future, those would all be (re-)released together in a single box-set... but I'll not hold my breath...

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I had to return mine as well. The cardboard for the lp sleeves are much thinner than that of my original 70's P.G.

Surely for the original 75 release you kept the LPs in the white paper track title sleeves not the heavy card picture window sleeves. I could never decide which way to place them into the die cut outer sleeve.front or rear letter windows, plain windows, picture windows, the configurations seemed endless.

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Anyone notice how the rough mix of Since I've been loving you, is much more clear than the master? Also, no matter which version we get I always hear hiss during the quiet moments at the beginning of The Immigrant Song and out of one speaker at the start of Custard Pie. Is it not possible in remastering, to eliminate hiss without affecting something else?

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Anyone notice how the rough mix of Since I've been loving you, is much more clear than the master? Also, no matter which version we get I always hear hiss during the quiet moments at the beginning of The Immigrant Song and out of one speaker at the start of Custard Pie. Is it not possible in remastering, to eliminate hiss without affecting something else?

Hiss -like all sound- has a frequency. Filtering this range of frequencies out does affect the soundstage. Noise reduction has evolved dramaticaly since the loathed CEDAR sonic solutions 'no noise' System was introduced in the 80's, but de-Hissing still affects the clarity of the source tape. The rough mix of SIBLY had less treatment in the production stage ( less tracks in use on the multitrack, less effects, less dubbing,...) the level of 'hostile elements' obviously shines and gives that 'in yer face' clarity

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Anyone notice how the rough mix of Since I've been loving you, is much more clear than the master? Also, no matter which version we get I always hear hiss during the quiet moments at the beginning of The Immigrant Song and out of one speaker at the start of Custard Pie. Is it not possible in remastering, to eliminate hiss without affecting something else?

It is very possible to reduce the hiss, but even if you're extremely careful you end up with a strange warbly underwater sound going on instead. If the level of hiss you are removing is low it can be very subtle, but it's still noticeable.

You have to bear in mind that the rough of mix of SIBLY had never been mastered before this point (it was straight from the desk, 'take this home and listen to it'), so all the mastering will have most likely been done on modern equipment in the digital domain, which is a darn sight quieter than a lot of the equipment they had back in the early 70's.

(Don't get me wrong - analogue gear is great, but if you're putting an analogue signal down a wire and processing it in some way you can't help but add noise to it, and each device you use in your signal chain, such as eq or compression, just adds even more noise - something that happens significantly less in digital signal processing).

The new album version is a RE-master, so it's from a finished tape that's already been through one mastering process. Therefore one set of noise has already been added to the original sound. The only way to get past this is to do a re-MIX - go back to the original multitracks and remix with quieter modern gear. But then this throws up the problem of getting the new mix to sound the same as the original, which was mixed without the benefit of modern desks with automated faders & computer controlled recall, and made use of physical effects like plate reverbs in studios that just don't exist any more. With all the will and money in the world you're just never going to get a remix to sound exactly the same as the original mix.

Hiss -like all sound- has a frequency. Filtering this range of frequencies out does affect the soundstage. Noise reduction has evolved dramaticaly since the loathed CEDAR sonic solutions 'no noise' System was introduced in the 80's, but de-Hissing still affects the clarity of the source tape. The rough mix of SIBLY had less treatment in the production stage ( less tracks in use on the multitrack, less effects, less dubbing,...) the level of 'hostile elements' obviously shines and gives that 'in yer face' clarity

If hiss had just a single frequency it would be pretty easy to eliminate, by simple filtering as you've said. The problem is really because hiss covers a band of frequencies - so you have to have a system that can differentiate between hiss and any wanted sound that lies in that frequency band, such as the ring of a cymbal or the sibilance in the singers voice for example. Additionally, during the overdubbing/mixing process the tape will have had to have been played back a number of times, and each playback degrades the sound quality a tiny bit.

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