New DS Live Box Set, 3rd November 2023!

[JF]

Guy said they used it to separate tracks of "where do you think you are going" from the MFN compilation, as the archivist couldn't find the multitracks of it. Guy had to mix it in Atmos so he used a software, probably AI, to do it. He said it did the job but the results are not what he really needs.

Is it the demo version or the album version ?

The demo.

Guy also said that nobody knew from where that version came from, so there was no way to find the multitracks of that version and had to use an AI to extract the tracks and do the atmos mix.

Seems they have an issue with the archive, as Guy also said that the reason why Portobello live is from Hammersmith, and not from Paris, as originally was sourced, is becaude that was what the record company provided him, so I guess the persons in charge of the archive lost some items, like the demos from "Where do you think" came, and the Paris 83 tapes...

as said in the Oldfield book, the whole Communiqué album was recorded as demo in London in november 78, except the title track which was composed in Nassau in december.
They brought these demos in Nassau, because Jerry Wexler listened to it, before recording the album.

So I guess that Mark or Ed or David or John or Mercury/Phonogram/Warner... should have the tape somewhere.... but of course after all this time, maybe they don't remember where they shelved it 

and of course a very little chance that they kept the multitrack...

[hunter v2.0]

Today you can buy top of the line (in terms of sound quality) streamers with integrated DAC that cost less than a decent pickup (e.g. Eversolo DMP-A6). If you want to color the sound a little, there are a number of DACs (even tube based) that sound remarkably analog. I use mid-fi gear from Rega (amp and DAC), which may not be the latest word in resolution, but it sounds very musical and pleasant. Very analog. I have ripped my CD collection (about 500) to FLAC, which fits on a 256 GB SD card. I understand the appeal of the physicality of LPs, but the hassle and cost not so much.

[Robson]

"The cost of modern vinyl is horrendous. I would rather pay £10 to £12 for a CD than £25 to £30 for the vinyl.
But each to their own"

Exactly!
I know one thing. I'll stick with CD

[hunter v2.0]

*Mark never really went for it in my opinion. His vocals were very low key, his guitar solos were very similar from show to show.

I've been wondering what happened with his vocals from 83 (Alchemy) to 92. He was never a "belter", but he totally went for it during the Alchemy show. Obviously 40? 60? cigarettes a day doesn't help LOL But that's an aspect that I've missed a lot during Mark's solo career. Very low-key vocals. It's like he's sitting in a recliner reading bedtime stories he-he

[Chris W]

I'm not sure it was a conscious thing, to save his voice or anything. It seemed to just become his style.
If I was sat at my drums when Ade (the monitor guy) tested Mark's mic it absolutely took my head off. But during the show I need that extreme level to hear Mark's singing.

[dmg]

*Mark never really went for it in my opinion. His vocals were very low key, his guitar solos were very similar from show to show.

I've been wondering what happened with his vocals from 83 (Alchemy) to 92. He was never a "belter", but he totally went for it during the Alchemy show. Obviously 40? 60? cigarettes a day doesn't help LOL But that's an aspect that I've missed a lot during Mark's solo career. Very low-key vocals. It's like he's sitting in a recliner reading bedtime stories he-he

Often wondered this myself.  The enthusiasm went after the BIA tour.  He used to bounce up and down at the mic quite often and walk about on stage, then on the OES tour he stopped that bounce, barely moved from his spot and the vocals were world weary. 

[hunter v2.0]

*Mark never really went for it in my opinion. His vocals were very low key, his guitar solos were very similar from show to show.

I've been wondering what happened with his vocals from 83 (Alchemy) to 92. He was never a "belter", but he totally went for it during the Alchemy show. Obviously 40? 60? cigarettes a day doesn't help LOL But that's an aspect that I've missed a lot during Mark's solo career. Very low-key vocals. It's like he's sitting in a recliner reading bedtime stories he-he

Often wondered this myself.  The enthusiasm went after the BIA tour.  He used to bounce up and down at the mic quite often and walk about on stage, then on the OES tour he stopped that bounce, barely moved from his spot and the vocals were world weary.

Given the whole "negativity" clouding the OES tour, the lack of enthusiasm is understandable. But during the solo years, though? And what's more, on the records the voice is often buried deep in the mix. It's not like Mark and the engineers don't have ears or the technical competence to improve it.

[herlock]

Yes, I agree that the interest of vinyl is in physicality, not technicality, and to me it's not worth the hassle.

Technically, the CD can be made to sound perfect. The fact that early CDs sounded "metallic" was because the mastering process was in its infancy, but today, a CD produced at British Grove studio can sound perfect. No matter what "Hi-rez" aficionados claim, 44.1khz sampling rate is more than enough to hear the whole human ear range (up to 20khz), we are not dogs, we can't hear ultrasounds... And 16-bit dynamic range is a bit small, but with proper dithering it can be made to accomodate 96 to 120db. On the contrary, the vinyl only has a 60db dynamic range. That is quite compressed, but as always, limitations are opportunities for clever mastering to shine, some vinyls are produced to make best use of this small range... Also, vinyls can render frequencies up to 50Khz, which is actually too much for the human earing, so no gain here.

[tomtom51]

I recommend this listening to everyone.

Thank you, much appreciated.
The McCartney tour was much more Rock n Roll.....maybe like the BIA tour. McCartney really went for it*, both in his singing and his playing. I was actually quite shocked at rehearsals as we got closer to the first show. Another major factor was that we were pretty much five instruments. Linda added a lot of vocals, but her keyboards were sparse. So there was a lot of improv, interaction and therefore fun between us.
On the OES tour it was just a wall of sound, with nine people playing all the time.In a way it had to be more organised or it would have become a cacophony of nine different people doing their own thing.
*Mark never really went for it in my opinion. His vocals were very low key, his guitar solos were very similar from show to show.

If I might add, on the same era Knebworth live cd, Paul McCartney can be heard praising "young Mr Christopher" for the intro to Coming Up. Again, what a class act ! Thanks again for these great drum parts on that and TTLF.

[Chris W]

Again....thanks.

[Matchstickman]

As for Mark's soloing, surely some parts were always more or less improvised (or changed around) - the intro to Heavy Fuel, and the intros and outros of The Bug come to mind. They are all different in the performances with which I'm familiar.

Those songs are simple musically, but more complicated songs like Sultans and Tunnel seem to have sections that start in familiar territory, include improvisation, use familiar phrases as cues to both the band the audience, and finally end on the famous twiddly bits (or what have you).

[Chris W]

Yeah, I would say the solos were always in part improvised, but more similar than not.
Of course there were certain themes and riffs that had to be played to signal the next part of the song.
I never knew what Robbie Macintosh or Macca were going to play in their solos, whereas Mark's solos were more of a variation on a theme from show to show.

[iorch82]

As for Mark's soloing, surely some parts were always more or less improvised (or changed around) - the intro to Heavy Fuel, and the intros and outros of The Bug come to mind. They are all different in the performances with which I'm familiar.

Those songs are simple musically, but more complicated songs like Sultans and Tunnel seem to have sections that start in familiar territory, include improvisation, use familiar phrases as cues to both the band the audience, and finally end on the famous twiddly bits (or what have you).

PONO went through quite a big evolution in the ending solo from the very first tame-ish performances to the late US leg on which he went wild and explored quite unusual phrasings.

[Matchstickman]

Yeah, I would say the solos were always in part improvised, but more similar than not.
Of course there were certain themes and riffs that had to be played to signal the next part of the song.
I never knew what Robbie Macintosh or Macca were going to play in their solos, whereas Mark's solos were more of a variation on a theme from show to show.

Yes, but I think that this is one of Mark's strengths. Not only does this create a very high consistent level, in keeping with the original version but with parts added; it also creates something new each time. It is, in a way, the best of both worlds. What Mark plays often feels "just right" for that song. McCartney, in my experience, mostly plays short simple rock solos, so it is hard to compare to TR or SOS or BIA, with their long solos being fundamental parts of the songs on a more profound level. 

[dmg]

As for Mark's soloing, surely some parts were always more or less improvised (or changed around) - the intro to Heavy Fuel, and the intros and outros of The Bug come to mind. They are all different in the performances with which I'm familiar.

Those songs are simple musically, but more complicated songs like Sultans and Tunnel seem to have sections that start in familiar territory, include improvisation, use familiar phrases as cues to both the band the audience, and finally end on the famous twiddly bits (or what have you).

I would agree with that; his solos have always seemed structured and very lyrical.  A lot of other guitarists have solos that go nowhere and sound very messy, but not Mark.  They usually have their recognisable phrases, which the fans can all lock onto, then some variation in between.