Oh yeah - THAT Cameron - how could I forget? I think I saw your name before and it was very obvious!! Matt Cameron for Prime Minister too I reckon
Now that would be a cool name, but you would definitely need to put the "Matt" in front of it so people would know which Cameron that you are talking about.
I think that you should change you screen name to: Matt Cameron4PrimeMinister
Maybe I will - but if so it will only be temporary!! I quite like my name!
I like it!!
hehe - blink and you missed it. Am on my way to change back before someone nicks my real name (have no idea how this feature works, bit thankfully people don't seem to use it that often - or else all kinds of chaos could break loose!!)
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I think that you should change you screen name to: Matt Cameron4PrimeMinister
Maybe I will - but if so it will only be temporary!! I quite like my name!
I like it!!
hehe - blink and you missed it. Am on my way to change back before someone nicks my real name (have no idea how this feature works, bit thankfully people don't seem to use it that often - or else all kinds of chaos could break loose!!)
I have to admit, I like MattCameron4PrimeMinister better, but tremors is not bad either.
I am the artist formally known as "Cameron4President"....
1998: Va Beach VA
2000: Va Beach VA, Columbia MD
2003: Raleigh NC, Bristow VA
2008: Washington DC
2009: Philly 3
2010: Bristow VA
2013: Baltimore MD, Charlottesville VA, Charlotte NC
2014: Cincinnati, OH
2016: Hampton, VA, Raleigh, NC
I think that you should change you screen name to: Matt Cameron4PrimeMinister
Maybe I will - but if so it will only be temporary!! I quite like my name!
I like it!!
hehe - blink and you missed it. Am on my way to change back before someone nicks my real name (have no idea how this feature works, bit thankfully people don't seem to use it that often - or else all kinds of chaos could break loose!!)
I have to admit, I like MattCameron4PrimeMinister better, but tremors is not bad either.
My favourite thing about that name was the way it jutted out stupidly far into the forum 'border'. It made me wonder if there is a character limit. Why don't you try changing your screen-name to 'MattCameron4PresidentAndOrPrimeMinister', and test this out for me, whilst also keeping the general idea alive?
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All u have to do is look at history. The 2000 shows were a mixture of indoor and outdoor, the 2003 were the same, as well as 2006 and most all the bootlegs had an pretty consistant amazing sound. "Consistant" being the important word in that sentence regardless whether it was indoor or outdoor. So imo the problem starts with the person mixing the shows, and has nothing or at least very little to do with the venue. From 2000 to 2006 PJ had the same person mixing the bootlegs, and the bottom line was they were consistant. From 2008 til now PJ obviously has someone different doing these bootlegs and they are all over the place. No consistantcy whatsoever. And it's consistantly bad! PJ set the bar with these recordings and now that bar is headed south. Someone really needs to do something about this. And maybe it appears that someone has done something as it sounds like the European shows sound better, and obviously better than the NA shows, which imo is too hard. This bums me out cuz the Euro shows were obviously shorter in length than the NA shows, plus the fact that the last 5 or so shows at the end of the NA tour were pretty epic, but yet sound the worst of all bootlegs. Later
I keep wondering about this. Is it cause the European show's were all released weeks after the show that's why they sounded better? What with so much time to work on the mixing & mastering. As for the USA '10 show's, they were released just day's later. Less time spent on working on the mixing & mastering reason why they don't sound as great as the European bootlegs? You think maybe there's a worker behind these recordings that doesn't like Americans & just doesn't really care about working on the USA/CDN mixes. That he/she would rather just focus his/her work & time on the European bootlegs to sound better & cleaner? You never know.
The '00-'05's were all direct soundboard feeds. Straight up direct feeds from the station. But the '06+ show's, there were more tools used. Basecamp posted something here during the '06 downloads that these recordings were not soundboard recordings. They had many mic stands on stage that pointed out to the audience & to the band. So both the SBD feeds from the cables/mics/guitars etc.. from each band member were mixed in with the audio coming out from the mics pointed to the audience & band. This is probably why the master product we are hearing today is all messed up that the matrix recording (SBD + audience mics) just doesn't feel right on this finished product.
as much as I love this band and all they offer..
there is simply too much treble and high end hiss on the 2009-2010 boots ...
to the point where certain songs on the boots actaully HURT to listen to because the treble is so high up..
lowering the treble on my car stereo only flattens out the rest of the sound and takes out the punch...
listen to them side by side with even the 2008 boots..
the difference is profound!
I reallly wish there could be remaster project like the philly boots to preserve all the greatness of these incredible shows..!
Maybe we can create an 10c exploratory commision to investigate!
(I am half serious!)
"This here's a REQUEST!"
EV intro to Chloe Dancer / Crown of Thorns
10/25/13 Hartford
Yes, I think they are too trebly, and they can actually hurt. I've found my way round it by switching headphones and settings and devices until it's listenable. It's a pain in the ass to do, but in the end I have found it is worth it
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The '00-'05's were all direct soundboard feeds. Straight up direct feeds from the station.
As far as I know, this is entirely untrue, D.
Brett stated in an article that he had run a multi-track recording set-up since 1993, none of the official boots are straight board recordings. They've all been mixed post-show, ever since 2000.
But the '06+ show's, there were more tools used. Basecamp posted something here during the '06 downloads that these recordings were not soundboard recordings. They had many mic stands on stage that pointed out to the audience & to the band. So both the SBD feeds from the cables/mics/guitars etc.. from each band member were mixed in with the audio coming out from the mics pointed to the audience & band.
This has also always been the case, even going back to the 2000 shows. There's always been microphones to pick up the ambient sound in the arena, the crowd would sound much more distant on the earlier boots if that wasn't the case.
This is probably why the master product we are hearing today is all messed up that the matrix recording (SBD + audience mics) just doesn't feel right on this finished product.
It's just horrible mixing by the guy doing them these guys, nothing more. Brett Eliason always mixed with the same set-up with quite obviously better results, he just had a much better idea of how the band should sound.
The '00-'05's were all direct soundboard feeds. Straight up direct feeds from the station.
As far as I know, this is entirely untrue, D.
Brett stated in an article that he had run a multi-track recording set-up since 1993, none of the official boots are straight board recordings. They've all been mixed post-show, ever since 2000.
Mixed post-show yes but did they all include a lot of that audience sound in those mixes? Nope! I don't hear much audience sound on the '00, '03 & '05 during the songs & official pressed CD's before that time. Just when the band is silent between the end & beginning of the tracks you can hear the fans. The '06, '08, '09 & '10, you can pick up so much chatter during the songs. I don't remember back then seeing @ shows or watching bootleg concert videos, concert photos etc.. of many mics stands facing the crowds, facing the band & all around like today. Just an observation.
But the '06+ show's, there were more tools used. Basecamp posted something here during the '06 downloads that these recordings were not soundboard recordings. They had many mic stands on stage that pointed out to the audience & to the band. So both the SBD feeds from the cables/mics/guitars etc.. from each band member were mixed in with the audio coming out from the mics pointed to the audience & band.
This has also always been the case, even going back to the 2000 shows. There's always been microphones to pick up the ambient sound in the arena, the crowd would sound much more distant on the earlier boots if that wasn't the case.
If they did have those mics facing the crowds, the bands, etc.. we would of had more audience sound on those past bootleg Cd's, but we don't. The fact that many fans here have been bitching about adding more audience sound/feel to these bootlegs take's away the feel we had remembered back then hearing those amazing crisp SBD Pearl Jam show's. Remember hearing Atlanta, Berlin, MMW live on the radio? Those sweet Triple J radio feeds. The recordings, the sound, on those were just amazing. That's the sound many of us would like to hear again then these latest released Pearl Jam audio show's. But it's not happening. :(
This is probably why the master product we are hearing today is all messed up that the matrix recording (SBD + audience mics) just doesn't feel right on this finished product.
It's just horrible mixing by the guy doing them these guys, nothing more. Brett Eliason always mixed with the same set-up with quite obviously better results, he just had a much better idea of how the band should sound.
I wouldn't say just cause Brett has a much better idea of how the band should sound others who work on these wouldn't know the right feel of Pearl Jam & how they should sound on these bootlegs. That's not true at all. Every sound engineer has a different taste & feel how something should sound but this is a live recording. Not a studio recording. There shouldn't be much stress on live recording cause it's a one time only play/record jam. No retakes. It boggles the mind why the latest bootleg mixes, especially the USA '10, sound bad.
Mixed post-show yes but did they all include a lot of that audience sound in those mixes? Nope! I don't hear much audience sound on the '00, '03 & '05 during the songs & official pressed CD's before that time. Just when the band is silent between the end & beginning of the tracks you can hear the fans. The '06, '08, '09 & '10, you can pick up so much chatter during the songs. I don't remember back then seeing @ shows or watching bootleg concert videos, concert photos etc.. of many mics stands facing the crowds, facing the band & all around like today. Just an observation.
Oh, I 100% agree that the crowd were mixed much lower on the pre-2006 boots, however that's something the engineer has total control over. Just because there are mics pointed toward the crowd, doesn't mean they'll be present in the mix - they could be muted entirely if the mixing engineer so wished.
The crowd would be barely audible if there were no crowd mics at all, I'm certain that there was still some ambient mics recordings during the earlier official boots. John Burton does the actual recordings (and has done since 2000) and I'm sure his set-up has evolved and developed over time, but I think the bare bones of it remains very similar from 2000 to 2010.
I agree that Brett isn't the only person who should be able to get the band to sound good, but the guy who's been mixing the boots since 2008 is clearly not the right guy for the job. It's been three years with very little improvement and I've purchased my last official boots from this band, it's just a waste of money.
Oh well, I'll always have my lovely Europe 2000 boots.
I understand all the feedback regarding the 2010 bootlegs and some of the 2009 feedback. I have seen the same kind of sentiments since 2005 forward. I hear many of the same things as well but I guess I have a higher tolerance or personal appreciation that prevents me from right out hating these boots.
I do however despise the 2008 bootlegs in all there glory. They have too much reverb, echo and too damn loud and way to much bass sound. I think Barret Jones has done a splendid job all in al though and has put his own touch on them. I am not one to do the constant comparing of Brett Eliason to whoever else does it (Barret Jones). Brett has moved on and I have accepted it and fans cried out for many things and Barret has tried to give a bit of what people want.
This is just different for all of us who are used to the old sound of official bootlegs and change is never easy and many will never accept change. But no matter what our perceptions, concerns and feedback are, we can always agree that we expect the best from our favorite band and sometimes we are our own worse enemy because the band has spoiled us so much and yet they love us and carry on and try to give us what we want unconditionally. Gotta love it.
Now back to your regularly scheduled programing. :P
Well put. At the end of the day there is a hell of a lot of value to be found in these bootlegs, so it seems a shame if the mix is becoming a barrier to people finding it. Are we getting spoilt? They're a damn sight better than any audience recording I've ever heard (well 96% of em at least)
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I wonder how much of it is Barrett Jones' fault and how much of it is Stone & Mikes fault. Because the guitars sound like ASS. In terms of the mixing, Mike will be really loud when he's dicking around and then he'll rip into a solo and he suddenly disappears. It doesn't make any sense. It's like someone got the "Mike" and "Stone" faders mixed up.
I wonder how much of it is Barrett Jones' fault and how much of it is Stone & Mikes fault. Because the guitars sound like ASS. In terms of the mixing, Mike will be really loud when he's dicking around and then he'll rip into a solo and he suddenly disappears. It doesn't make any sense. It's like someone got the "Mike" and "Stone" faders mixed up.
Yep, I think everyone notices this over the last few years. Let's see how Barret does when there is a 70+ show tour damn near back to back though. I bet he fools us all and does damn well if the time ever comes. I think the more pressure there is the more motivated sound engineers become. Barret is no chump and has been in the business awhile and must have done something right to have landed the position and he does a good job overall in my view. It's the continuity that is greatly lacking for me more than anything but all in all I still love the shows and they are listenable for me other than the over produced 2008 tour and let's face it. That was his coming out party for the Band Camp's Bootlegs. He must have pleased most of the people most of the time or he wouldn't still have a job. Ed and Jeff are anal retentive as hell about archiving and audio quality.
To me it's a dramatic decline in the mix quality since 2006. I realize that a lot of people can't tell the fucking difference, and love to chime in anyway about how "awesome" the new boots sound. But I've pretty much given up on collecting PJ bootlegs altogether. They're gonna have to jump through hoops to get me to fork over money for official bootlegs again. The quality isn't worth it, in terms of mixing and often performance.
"...Dimitri...He talks to me...'.."The Ghost of Greece..".
"..That's One Happy Fuckin Ghost.."
“..That came up on the Pillow Case...This is for the Greek, With Our Apologies.....”
Ed and Jeff are anal retentive as hell about archiving and audio quality.
This isn't true at all.
When Ed was asked in an interview about the over-compression of the Ten reissue, he claimed not to even know what compression was. They'd also not be pressing 16-bit digital files to vinyl if they had an understanding about sound quality.
They might archive stuff, but quality's never been something they've appeared to worry about too much (which is a pity).
To me it's a dramatic decline in the mix quality since 2006. I realize that a lot of people can't tell the fucking difference, and love to chime in anyway about how "awesome" the new boots sound. But I've pretty much given up on collecting PJ bootlegs altogether. They're gonna have to jump through hoops to get me to fork over money for official bootlegs again. The quality isn't worth it, in terms of mixing and often performance.
Remember 2007 when there were NO bootlegs - how depressing was that :( :( :( I'm just so grateful they got organised with Kufala and I can now buy the shows I was at (and a few more)
And this is not me blindly saying everything the band does is great, its just an observation on how I felt at the time and still feel about not being able to listen to a SB recording of the 07 shows. (So, if your reading this PJ/management please release these shows )
Ed and Jeff are anal retentive as hell about archiving and audio quality.
This isn't true at all.
When Ed was asked in an interview about the over-compression of the Ten reissue, he claimed not to even know what compression was. They'd also not be pressing 16-bit digital files to vinyl if they had an understanding about sound quality.
They might archive stuff, but quality's never been something they've appeared to worry about too much (which is a pity).
I am speaking in terms of the shows being archived and recorded. I have read in interviews that Ed and Jeff are very particular about that and that it's been because of them that it is even done let alone the methods and how they have changed over the years to ensure quality for archiving. Please don't take what I say out of context as it was not meant that way and sorry for not be more specific. The discussion is not about compression audio but quality in terms for my end on that statement. People can say what they will all they like but the guys pay more attention to things than they get credit for. They do care and pay enough attention to pay the right people to do the right job. Otherwise we wouldn't have anything to compare to.......lol. I feel the pain of those who are dismissive of the audio mixing of the shows the last few years, but I also know that most who have complaints are unwavering in many ways. It sucks for the consumer/fan who is now in that position and it does no good for Pearl Jam business wise. If so many of you think such a way. It's better to take those constant complaints to TenC personally, rally your support, make your voice heard. I know that even though I don't like everything they do and still enjoy the shows as they are that there is room to improve for damn sure. They won't be motivated to improve something unless we make our voices heard and communicate through the right channels.
Remember 2007 when there were NO bootlegs - how depressing was that :( :( :( I'm just so grateful they got organised with Kufala and I can now buy the shows I was at (and a few more)
And this is not me blindly saying everything the band does is great, its just an observation on how I felt at the time and still feel about not being able to listen to a SB recording of the 07 shows. (So, if your reading this PJ/management please release these shows )
they have them....07..we know that....
"...Dimitri...He talks to me...'.."The Ghost of Greece..".
"..That's One Happy Fuckin Ghost.."
“..That came up on the Pillow Case...This is for the Greek, With Our Apologies.....”
Remember 2007 when there were NO bootlegs - how depressing was that :( :( :( I'm just so grateful they got organised with Kufala and I can now buy the shows I was at (and a few more)
And this is not me blindly saying everything the band does is great, its just an observation on how I felt at the time and still feel about not being able to listen to a SB recording of the 07 shows. (So, if your reading this PJ/management please release these shows )
and Pre-2000. Would love to have those as a SDB recording. I am thankful that this band give us the option to purchase these shows.
I am the artist formally known as "Cameron4President"....
1998: Va Beach VA
2000: Va Beach VA, Columbia MD
2003: Raleigh NC, Bristow VA
2008: Washington DC
2009: Philly 3
2010: Bristow VA
2013: Baltimore MD, Charlottesville VA, Charlotte NC
2014: Cincinnati, OH
2016: Hampton, VA, Raleigh, NC
Remember 2007 when there were NO bootlegs - how depressing was that :( :( :( I'm just so grateful they got organised with Kufala and I can now buy the shows I was at (and a few more)
And this is not me blindly saying everything the band does is great, its just an observation on how I felt at the time and still feel about not being able to listen to a SB recording of the 07 shows. (So, if your reading this PJ/management please release these shows )
and Pre-2000. Would love to have those as a SDB recording. I am thankful that this band give us the option to purchase these shows.
I think that if there is enough of a public rally and people get motivated and organized and send letters and emails and make petitions for the 2005/2007 shows to be released in cd and digital flac that if it's in there power to make it viable they will. You just have to be motivated and make the effort. It's better to have tried and failed than to have failed to try.
I think that if there is enough of a public rally and people get motivated and organized and send letters and emails and make petitions for the 2005/2007 shows to be released in cd and digital flac that if it's in there power to make it viable they will. You just have to be motivated and make the effort. It's better to have tried and failed than to have failed to try.
Imagine how much this thread would expand if they released these and the pre 2000 shows viewtopic.php?f=4&t=138270
I think that if there is enough of a public rally and people get motivated and organized and send letters and emails and make petitions for the 2005/2007 shows to be released in cd and digital flac that if it's in there power to make it viable they will. You just have to be motivated and make the effort. It's better to have tried and failed than to have failed to try.
Imagine how much this thread would expand if they released these and the pre 2000 shows viewtopic.php?f=4&t=138270
Indeed, there is a solid market for stuff like that for sure, but unless we make our voices heard then they won't even entertain researching the market to see if it's monetarily worth investing and making a profit. It's up to us to ensure they hear us. I personally feel that they would make a solid return investment if they decided to launch the 2005/2007 bootlegs professionally like they have the last 3 years. Have them mixed and processed digital via flac/mp3 and Kufala. But that's my opinion, they still have to deal with the cost of making it happen and whatever other things they may block the possibility that we are unaware of.
I think that if there is enough of a public rally and people get motivated and organized and send letters and emails and make petitions for the 2005/2007 shows to be released in cd and digital flac that if it's in there power to make it viable they will. You just have to be motivated and make the effort. It's better to have tried and failed than to have failed to try.
Imagine how much this thread would expand if they released these and the pre 2000 shows viewtopic.php?f=4&t=138270
Indeed, there is a solid market for stuff like that for sure, but unless we make our voices heard then they won't even entertain researching the market to see if it's monetarily worth investing and making a profit. It's up to us to ensure they hear us. I personally feel that they would make a solid return investment if they decided to launch the 2005/2007 bootlegs professionally like they have the last 3 years. Have them mixed and processed digital via flac/mp3 and Kufala. But that's my opinion, they still have to deal with the cost of making it happen and whatever other things they may block the possibility that we are unaware of.
+1
I am the artist formally known as "Cameron4President"....
1998: Va Beach VA
2000: Va Beach VA, Columbia MD
2003: Raleigh NC, Bristow VA
2008: Washington DC
2009: Philly 3
2010: Bristow VA
2013: Baltimore MD, Charlottesville VA, Charlotte NC
2014: Cincinnati, OH
2016: Hampton, VA, Raleigh, NC
Just from my tiny corner of the planet - I went 'all-the-way-back' to my Belfast 2010 mp3s today and found myself seriously getting into the show. The fact that it was only played a matter of weeks ago made me feel blessed to have the opportunity to hear the show so clearly now. I've attended a lot of shows in person (PJ and others) where the sound and experience was a hell of a lot more foggy than today!!
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Comments
hehe - blink and you missed it. Am on my way to change back before someone nicks my real name (have no idea how this feature works, bit thankfully people don't seem to use it that often - or else all kinds of chaos could break loose!!)
Send my credentials to the house of detention
I have to admit, I like MattCameron4PrimeMinister better, but tremors is not bad either.
1998: Va Beach VA
2000: Va Beach VA, Columbia MD
2003: Raleigh NC, Bristow VA
2008: Washington DC
2009: Philly 3
2010: Bristow VA
2013: Baltimore MD, Charlottesville VA, Charlotte NC
2014: Cincinnati, OH
2016: Hampton, VA, Raleigh, NC
My favourite thing about that name was the way it jutted out stupidly far into the forum 'border'. It made me wonder if there is a character limit. Why don't you try changing your screen-name to 'MattCameron4PresidentAndOrPrimeMinister', and test this out for me, whilst also keeping the general idea alive?
Send my credentials to the house of detention
I keep wondering about this. Is it cause the European show's were all released weeks after the show that's why they sounded better? What with so much time to work on the mixing & mastering. As for the USA '10 show's, they were released just day's later. Less time spent on working on the mixing & mastering reason why they don't sound as great as the European bootlegs? You think maybe there's a worker behind these recordings that doesn't like Americans & just doesn't really care about working on the USA/CDN mixes. That he/she would rather just focus his/her work & time on the European bootlegs to sound better & cleaner? You never know.
The '00-'05's were all direct soundboard feeds. Straight up direct feeds from the station. But the '06+ show's, there were more tools used. Basecamp posted something here during the '06 downloads that these recordings were not soundboard recordings. They had many mic stands on stage that pointed out to the audience & to the band. So both the SBD feeds from the cables/mics/guitars etc.. from each band member were mixed in with the audio coming out from the mics pointed to the audience & band. This is probably why the master product we are hearing today is all messed up that the matrix recording (SBD + audience mics) just doesn't feel right on this finished product.
there is simply too much treble and high end hiss on the 2009-2010 boots ...
to the point where certain songs on the boots actaully HURT to listen to because the treble is so high up..
lowering the treble on my car stereo only flattens out the rest of the sound and takes out the punch...
listen to them side by side with even the 2008 boots..
the difference is profound!
I reallly wish there could be remaster project like the philly boots to preserve all the greatness of these incredible shows..!
Maybe we can create an 10c exploratory commision to investigate!
(I am half serious!)
EV intro to Chloe Dancer / Crown of Thorns
10/25/13 Hartford
Send my credentials to the house of detention
Brett stated in an article that he had run a multi-track recording set-up since 1993, none of the official boots are straight board recordings. They've all been mixed post-show, ever since 2000.
This has also always been the case, even going back to the 2000 shows. There's always been microphones to pick up the ambient sound in the arena, the crowd would sound much more distant on the earlier boots if that wasn't the case.
It's just horrible mixing by the guy doing them these guys, nothing more. Brett Eliason always mixed with the same set-up with quite obviously better results, he just had a much better idea of how the band should sound.
Mixed post-show yes but did they all include a lot of that audience sound in those mixes? Nope! I don't hear much audience sound on the '00, '03 & '05 during the songs & official pressed CD's before that time. Just when the band is silent between the end & beginning of the tracks you can hear the fans. The '06, '08, '09 & '10, you can pick up so much chatter during the songs. I don't remember back then seeing @ shows or watching bootleg concert videos, concert photos etc.. of many mics stands facing the crowds, facing the band & all around like today. Just an observation.
If they did have those mics facing the crowds, the bands, etc.. we would of had more audience sound on those past bootleg Cd's, but we don't. The fact that many fans here have been bitching about adding more audience sound/feel to these bootlegs take's away the feel we had remembered back then hearing those amazing crisp SBD Pearl Jam show's. Remember hearing Atlanta, Berlin, MMW live on the radio? Those sweet Triple J radio feeds. The recordings, the sound, on those were just amazing. That's the sound many of us would like to hear again then these latest released Pearl Jam audio show's. But it's not happening. :(
I wouldn't say just cause Brett has a much better idea of how the band should sound others who work on these wouldn't know the right feel of Pearl Jam & how they should sound on these bootlegs. That's not true at all. Every sound engineer has a different taste & feel how something should sound but this is a live recording. Not a studio recording. There shouldn't be much stress on live recording cause it's a one time only play/record jam. No retakes. It boggles the mind why the latest bootleg mixes, especially the USA '10, sound bad.
The crowd would be barely audible if there were no crowd mics at all, I'm certain that there was still some ambient mics recordings during the earlier official boots. John Burton does the actual recordings (and has done since 2000) and I'm sure his set-up has evolved and developed over time, but I think the bare bones of it remains very similar from 2000 to 2010.
I agree that Brett isn't the only person who should be able to get the band to sound good, but the guy who's been mixing the boots since 2008 is clearly not the right guy for the job. It's been three years with very little improvement and I've purchased my last official boots from this band, it's just a waste of money.
Oh well, I'll always have my lovely Europe 2000 boots.
Often makes me think of this:
I do however despise the 2008 bootlegs in all there glory. They have too much reverb, echo and too damn loud and way to much bass sound. I think Barret Jones has done a splendid job all in al though and has put his own touch on them. I am not one to do the constant comparing of Brett Eliason to whoever else does it (Barret Jones). Brett has moved on and I have accepted it and fans cried out for many things and Barret has tried to give a bit of what people want.
This is just different for all of us who are used to the old sound of official bootlegs and change is never easy and many will never accept change. But no matter what our perceptions, concerns and feedback are, we can always agree that we expect the best from our favorite band and sometimes we are our own worse enemy because the band has spoiled us so much and yet they love us and carry on and try to give us what we want unconditionally. Gotta love it.
Now back to your regularly scheduled programing. :P
Send my credentials to the house of detention
Yep, I think everyone notices this over the last few years. Let's see how Barret does when there is a 70+ show tour damn near back to back though. I bet he fools us all and does damn well if the time ever comes. I think the more pressure there is the more motivated sound engineers become. Barret is no chump and has been in the business awhile and must have done something right to have landed the position and he does a good job overall in my view. It's the continuity that is greatly lacking for me more than anything but all in all I still love the shows and they are listenable for me other than the over produced 2008 tour and let's face it. That was his coming out party for the Band Camp's Bootlegs. He must have pleased most of the people most of the time or he wouldn't still have a job. Ed and Jeff are anal retentive as hell about archiving and audio quality.
"..That's One Happy Fuckin Ghost.."
“..That came up on the Pillow Case...This is for the Greek, With Our Apologies.....”
When Ed was asked in an interview about the over-compression of the Ten reissue, he claimed not to even know what compression was. They'd also not be pressing 16-bit digital files to vinyl if they had an understanding about sound quality.
They might archive stuff, but quality's never been something they've appeared to worry about too much (which is a pity).
And this is not me blindly saying everything the band does is great, its just an observation on how I felt at the time and still feel about not being able to listen to a SB recording of the 07 shows. (So, if your reading this PJ/management please release these shows
I am speaking in terms of the shows being archived and recorded. I have read in interviews that Ed and Jeff are very particular about that and that it's been because of them that it is even done let alone the methods and how they have changed over the years to ensure quality for archiving. Please don't take what I say out of context as it was not meant that way and sorry for not be more specific. The discussion is not about compression audio but quality in terms for my end on that statement. People can say what they will all they like but the guys pay more attention to things than they get credit for. They do care and pay enough attention to pay the right people to do the right job. Otherwise we wouldn't have anything to compare to.......lol. I feel the pain of those who are dismissive of the audio mixing of the shows the last few years, but I also know that most who have complaints are unwavering in many ways. It sucks for the consumer/fan who is now in that position and it does no good for Pearl Jam business wise. If so many of you think such a way. It's better to take those constant complaints to TenC personally, rally your support, make your voice heard. I know that even though I don't like everything they do and still enjoy the shows as they are that there is room to improve for damn sure. They won't be motivated to improve something unless we make our voices heard and communicate through the right channels.
"..That's One Happy Fuckin Ghost.."
“..That came up on the Pillow Case...This is for the Greek, With Our Apologies.....”
and Pre-2000. Would love to have those as a SDB recording. I am thankful that this band give us the option to purchase these shows.
1998: Va Beach VA
2000: Va Beach VA, Columbia MD
2003: Raleigh NC, Bristow VA
2008: Washington DC
2009: Philly 3
2010: Bristow VA
2013: Baltimore MD, Charlottesville VA, Charlotte NC
2014: Cincinnati, OH
2016: Hampton, VA, Raleigh, NC
I think that if there is enough of a public rally and people get motivated and organized and send letters and emails and make petitions for the 2005/2007 shows to be released in cd and digital flac that if it's in there power to make it viable they will. You just have to be motivated and make the effort. It's better to have tried and failed than to have failed to try.
Imagine how much this thread would expand if they released these and the pre 2000 shows
Indeed, there is a solid market for stuff like that for sure, but unless we make our voices heard then they won't even entertain researching the market to see if it's monetarily worth investing and making a profit. It's up to us to ensure they hear us. I personally feel that they would make a solid return investment if they decided to launch the 2005/2007 bootlegs professionally like they have the last 3 years. Have them mixed and processed digital via flac/mp3 and Kufala. But that's my opinion, they still have to deal with the cost of making it happen and whatever other things they may block the possibility that we are unaware of.
1998: Va Beach VA
2000: Va Beach VA, Columbia MD
2003: Raleigh NC, Bristow VA
2008: Washington DC
2009: Philly 3
2010: Bristow VA
2013: Baltimore MD, Charlottesville VA, Charlotte NC
2014: Cincinnati, OH
2016: Hampton, VA, Raleigh, NC
Just from my tiny corner of the planet - I went 'all-the-way-back' to my Belfast 2010 mp3s today and found myself seriously getting into the show. The fact that it was only played a matter of weeks ago made me feel blessed to have the opportunity to hear the show so clearly now. I've attended a lot of shows in person (PJ and others) where the sound and experience was a hell of a lot more foggy than today!!
Send my credentials to the house of detention