Dubnobasswithmyheadman: 20th Anniversary 5-CD Deluxe Boxset

[wam]

My collection is complete again. Very pleased with the new box. Today will be Underworld day..... playing their music....... all day, all night.

[twicezero]

A mystery: what is Dogman Go Woof a remix of?

[darkvoice]

Why stop there.. if we're going for completeness:

Why Why Why (5:16 version)
Minneapolis
Minneapolis Airwaves
Bigmouth
Dirty (with Akira sample)
Mother Earth (fm mix)
The Hump (groove without a doubt)

What else?

Remix CD?

Bjork - Human Behaviour (The Underworld Dub (1)
Bjork - Human Behaviour (The Underworld Dub (2)
Bjork - Human Behaviour (The Underworld Remix)
Drum Club - Sound System (Underworld Mix)
One Dove - Why Don't You Take Me (Underworld Remix)
One Dove - Why Don't You Take Me (Underworld Up 2 Down Remix)
Orbital - Lush 3-3 (Underworld Mix)
Spooky - Schmoo (Underworld Mix)
William Orbit - Water From A Vine Leaf (Underworld mix)
Sven Vath - Harlequin - The Beauty & The Beast (Underworld Remix)

etc.. etc...

[darkvoice]

Although the boxset is great and I love CD5 jam, I also would pay for a better version of Saved from the cutting room floor mix (Underworld vs The Misterons)

Who are The Misterons by the way? An alternate DJ name for UW ? Can't find any info on this.

[TheBang]

Who are The Misterons by the way? An alternate DJ name for UW ? Can't find any info on this.
Steve Hall and Darren Price.

[crank]

still no delivery of said box set. starting to worry. i also don't have a tracking number on my email confirming shipment.

[holden]

Got mine in Colorado on the 8th. So far, I have just stared at the book with a huge grin....heavy listening weekend ahead!
I am fine with the yellow outside box cover and the design of the booklet. If anything, I wish there were more text, stories and history. Obviously, UW is a very visual band, what with the Tomato connection, Karl's paint/photo/design work...cool. But a lot of the book sort of reminds me of the old Book of Jam series. Cool for looking at while listening or as a coffee table book, I guess I just think they could pack more live shots, era photos and historical docs in there?

Other concern...the paper half circles that are envelopes for the discs. Turn your box the wrong way ( or get it through air mail delivery!) And the discs will be loose. And I'm sure to rip these taking the discs out and in.

Still, a very nice collection and a wonderful archive, even if we all have personal preferences for what could have been included. Its what the band made for us, and we are fortunate to have it!

[taoyoyo]

Mine made it yesterday.

Pretty much agree with Holden... the book is lovely but more text, interviews, etc would have been great. Overall very happy!

I had two CDs loose in the box (air mail) but no problem... ripped them all losslessly to iTunes and added them to my iPod. Will put the box set somewhere safe.

Loving it so far, very pleased to have the archive of tracks of one of my all-time favorite albums.

(Now just hoping for a US-leg of the tour next year with Atlanta included :) )

[Troy McClure]

My order arrived in Arizona today (the 5 CD set and the Blu-Ray Disc). Can't wait to dig in.

-Jason

[jetpig]

Let me know.if the blue ray is noticeably better than the CDs, I'm interested in it but only if there's a discernable difference.

[kagenaki koe]

The contents of the book are beautiful and provocative but they are not Dubnobass. They are some other underworld record, perhaps one yet to be created. This seems like a missed opportunity to present the gorgeous and truly iconic original album imagery in a deluxe format, perhaps alongside other pieces from the era: the Cowgirl/Dirty Epic EP, Dark & Long, Skyscaper, etc. Again I stress that this work is beautiful, it's just not work that reflects this album. I'm utterly perplexed by this choice. Perhaps the thinking was that the original artwork would be reproduced for the vinyl reissue? Overall the Barking deluxe edition was the more successful object.

there is the mmm...skyscraper book....i actually have multiple copies, the first edition (1994) and the 2nd edition (published in 97), the first edition uses a different paper stock making it not as thick as the 2nd release, and it also looks like the first edition (at least the one I have) got cut a quarter of an inch shorter.

[Troy McClure]

Let me know.if the blue ray is noticeably better than the CDs, I'm interested in it but only if there's a discernable difference.


It will be at least a week for me. I don't own a quality stereo system yet to give a proper recommendation. I put in my player to see how it works since this is my first strictly audio blu-ray disc. The insert is the Tomato artwork / typography from the '94 release.

It does come with 3 audio options:

2.0 LPCM Stereo 24bit / 96kHz
2.0 DTS Stereo 24bit / 96kHz
2.0 Dolby TrueHD 24bit / 96kHz

Screenshot of my TV: (the background image is static throughout)
http://38.media.tumblr.com/73e0b190468489b2fa257a0820f06c3a/tumblr_nd9xhlJTuP1tfclupo1_1280.jpg

Jason

[crank]

still no delivery of said box set. starting to worry. i also don't have a tracking number on my email confirming shipment.

Received it yesterday. Love the packaging.

[jetpig]

It will be at least a week for me. I don't own a quality stereo system yet to give a proper recommendation. I put in my player to see how it works since this is my first strictly audio blu-ray disc. The insert is the Tomato artwork / typography from the '94 release.

It does come with 3 audio options:

2.0 LPCM Stereo 24bit / 96kHz
2.0 DTS Stereo 24bit / 96kHz
2.0 Dolby TrueHD 24bit / 96kHz

Screenshot of my TV: (the background image is static throughout)
http://38.media.tumblr.com/73e0b190468489b2fa257a0820f06c3a/tumblr_nd9xhlJTuP1tfclupo1_1280.jpg

Jason

If that background were changing and moving throughout... oh man. From the looks of it I'll have to get that disc.

[holden]

Just listened to discs 4 and 5... They sounded fine to me! Hey, these are works in progress, so I don't expect a masterful remix or remaster. But really, the tracks sound fine. The only real hiss is in the spoken introductions. Sometimes it's just fun to hear the rough mixes and works-in-progress. And they are magnificent!

[Spooky Shoes]

Just opened the vinyl that I bought last night, it's fucking filthy with bits of packing embedded in it. >.<

[negative1]

after going through the boxset.
=================================
1) the booklet is fine, not sure why some people would think it doesn't fit in with theme.

i'm going to reframe it as a hardcover though, maybe add in some pages from the
mmm skyscraper

(you can get cheap copies here : http://www.amazon.com/Mmm-Skyscraper-I-Love-You/dp/1873968582 )

2) i don't mind that the boxset has yellow in it, it doesn't ruin anything for me. sure it
could be the original black and white, but its an artistic decision

3) the album remaster is very good, might have to get the bluray

4) the b-sides and remixes, have some previously unreleased vinyl tracks, and
better versions of some of the mixes, so it was nice to get those. some tracks did
have hiss and noise though.

5) the non album tracks are all great, and a nice treasure trove to listen to

6) the live jam again is excellent, and a great addition, however the sound quality
is subpar at times


about the noise/no noise.... i'm fine with lesser quality sounding tracks, and glitches etc.

but i also like having cleaner versions for my own person use, and listening. depending
on the mood i'm in, it doesn't bother me as much. in fact with several projects that i've
been doing, that has been the major motivation for them.

i'm all for preserving the originals, and will keep the boxset and tracks as is for reference.
but for most of my listening i can live with 'cleaner' versions of the tracks too.

despite the missing tracks, a couple of typos, and varying quality. i feel this is a very good
boxset, and appreciate all the missing and unreleased material on it.

great time to be a fan of the early underworld tracks. hope they can repeat this when they
do the 'second toughest infants' one.


later
-1

[Jamiel]

I am finding it really interesting to hear the early versions of some of the tracks, especially to hear the sound palette the band were using, and how it was refined down to make the Underworld sound we know.

Bigmouth from disc 5 has a very Orbital like synth line that didn't appear in any later Underworld music, the sounds on Eclipse don't have the darkness and depth that I would associate with Underworld. Lots of other examples. This is no criticism of the music, it is just very interesting to hear its evolution.

I am really enjoying the box set, there is more on there that I didn't have than I expected, having a lot of the singles like the Dark and Long releases, Dirty, Spikee,etc.

[DaddyAdv]

Finall,y my 5-CD-Deluxe arrived (from Topspin) here in Germany.
Off to the CD player then :-)

[markreed]

Is there a quick and easy guide to what isn't on this reissue? I can think "Why Why Why", "Second Hand", "215 Miles", "Spoon Deep", "Dark Hard", "Cowgirl (Winjer)", and the "Mother Earth" 12"mixes. Any ideas why? I wouldn't've hurt them to put an extra CD or 2 in there to fill it out.

[potatobroth]

Is there a quick and easy guide to what isn't on this reissue? I can think "Why Why Why", "Second Hand", "215 Miles", "Spoon Deep", "Dark Hard", "Cowgirl (Winjer)", and the "Mother Earth" 12"mixes. Any ideas why? I wouldn't've hurt them to put an extra CD or 2 in there to fill it out.

I'm confused. you mean the 5-disc set?

Edit: oops, misread your post. thought you said what "IS" on the reissue.

[negative1]

Is there a quick and easy guide to what isn't on this reissue? I can think "Why Why Why", "Second Hand", "215 Miles", "Spoon Deep", "Dark Hard", "Cowgirl (Winjer)", and the "Mother Earth" 12"mixes. Any ideas why? I wouldn't've hurt them to put an extra CD or 2 in there to fill it out.

i listed them here:
=============
http://www.borndirty.org/forums/showpost.php?p=156733&postcount=49
time and space constraints.

i'm glad for all the demos and the live jam.
since i already have all the stuff.

however, i wish they could have at least put the tracks in
chronological order. it's kind of a mess.




later
-1

[potatobroth]

something magical happened between these demo/unreleased tracks and the actual Dubno album. The lyrical portions seem quite thin and often shoe-horned in. They lack the rhythm or cadence like those on the album versions. And as with D&L Ruff mix, the lyrics seem like they are those of a backup singer with the main vocalist left off the track.

All in all im really happy with this set even if i had most of these tracks prior. the remasters are great and i can finally listen to this album in my car without cracking the volume up as loud as it can go.

Concord and Birdstar are great (two i hadnt heard until recently)

[BrotherLovesDub]

It's not magic, it's Rick.

[negative1]

Article here:
=========
http://www.bbc.com/culture/story/20141010-rave-was-more-punk-than-punk

later
-1

[woofmute]

Can't even read the article because it's on BBC worldwide and I'm in the UK.

[Chippy]

10 October 2014Underworld: ‘Rave was more punk than punk’

By Andrew Harrison

(Underworld)

It’s 20 years since Underworld released their groundbreaking LP, Dubnobasswithmyheadman. But what made it so influential? Andrew Harrison looks back.

It seems bizarre today, at this time when club-born bands like The Prodigy or The Chemical Brothers regularly headline the Glastonbury festival, huge electronic dance music (EDM) events like Las Vegas’s Electric Daisy Carnival dwarf the biggest rock shows and the world vibrates to the ecstatic sound of drum machines and synthesised bass lines.
But there was a time when electronic music was a marginal affair to mainstream music fans, an impenetrable world with no charismatic front men nor any nuance beyond exhortations to let yourself go and feel the music.
More open-minded bands like Primal Scream, Jesus Jones and Orbital did blur the lines of rock, electronics and live performance in the early days. But the group that perhaps most completely fused the two sides of post-electronic pop – introducing rock fans to the euphoria of communal dancing, and winning over clubbers to the deeper, richer pleasures of the full-length album – was Essex-based Underworld.
This week they mark the 20th anniversary of their groundbreaking album Dubnobasswithmyheadman, a sprawling and hypnotic work which gave rock fans an entry point to the new churning rhythms of dance music. There will be the sort of celebrations usually reserved for a classic rock opus, with a lavish five-disc remastered CD and Blu-ray edition of the record featuring unreleased material, plus a show at London’s Royal Festival Hall on Saturday 11 October at which Underworld will perform the album in full for the first time. They will tour the ‘Dubnobass’ album across the UK, France, Germany and the Netherlands in 2015.
‘Relentless energy’
The response has been so warm because Dubnobass is possibly the best-remembered album from British dance music’s first golden period. On its release in January 1994 the weekly music paper Melody Maker pronounced Dubnobass to be “the most important album since The Stone Roses and the best since Screamadelica by Primal Scream. “We’re grabbing elements from all different times and areas of music and taking them somewhere else,” singer-guitarist Karl Hyde told the paper at the time. “Even though we’re using vocals and guitars, we’re trying to do it in new ways. We’re trying to make those elements relevant today.”


Key to the record’s appeal was Hyde’s mysterious, impressionistic vocal presence. A former art student trained in the Fluxus school, Hyde made notes of fractured city imagery in little notebooks during his wanderings around London and New York and Tokyo. From these he sang fascinating, whispered lines: “Ride the sainted rhythms on the midnight train to Romford,” “Mmm, skyscraper I love you” – that turned Underworld’s mix of stampeding dance floor beats and strange ambient lacunae into a puzzle to be decoded.
Dubnobass became a Joycean cut-up of the modern city, full of images of seedy Manhattan, drunks at Liverpool Street Station and visions of surreal architecture, the post-Big Bang city transforming into the 24-hour society of the 21st Century. Its cover artwork – layers of typography distorted by the art and advertising collective Tomato, for whom Underworld provided music and ideas echoed the music’s textures, prefiguring the word clouds and data visualisations of the emerging internet age.
Though Dubnobass summoned up dance music’s relentless energy, clubbers also embraced it as a reflective record to play in the small hours after you came home. Here was a dance record with something to say about the world that was changing around it. “The lyrics are all snapshots of what really happened to me,” Hyde recalls. “We wanted to capture as much of the world as we could and put it on record.”
‘Outsider culture’
Yet the album that captured that changing world so vividly was actually a final throw of the dice from artists who’d worked in music for over a decade with little reward. Friends since their days in college punk bands in Cardiff in the early ‘80s, Hyde and producer Rick Smith had reached a low ebb in the end of the decade. Their extravagant and expensive-to-run band – a funk-rock outfit big on adventurous haircuts which was the first to use the Underworld name – had petered out, leaving the duo with only debts. But Hyde and Smith had become intrigued by the new rhythms and DIY approach of dance music’s emerging world.
During sound checks on Underworld mark one’s soul-sapping live tours, Smith would play their 909 drum machine – then providing the trademark beat of house music – on its own, without accompaniment, through giant stadium speakers and marvel at its power and simplicity. Why can’t we make music like this, he wondered? As the band wound down, the two began to doodle with simpler, mostly instrumental ‘transitional’ music inspired by Chicago house and Detroit techno, never really expecting it to be released. The group’s demise was almost a release. “By the end we’d given up on being a band,” Hyde admits. “We wanted to be almost anything else.”
After Underworld mark one dissolved, Hyde filled his time with session work for Prince in Minneapolis, and Blondie’s Debbie Harry in New York. He filled his notebooks with observations and imagery. Back home in Romford in London’s anonymous outer suburbs, producer Smith began to experiment with the few pieces of lo-fi equipment they had retained. In contrast to the dead path of conventional rock stardom, the new, parallel world of warehouse raves, independent record shops and affordable technology seemed full of possibilities.


“Rave was more punk than punk,” explains Karl Hyde. “Ten thousand people in a warehouse, making records in your bedroom, pirate radio… you could have a career entirely outside the conventional music business. It was absolute outsider culture.”
Fascinated, Smith hooked up with a sparky young DJ from nearby Hornchurch called Darren Emerson. A trainee futures trader in the City’s financial markets by day, at night Emerson played techno at the Milk Bar in Soho where stars of the emerging dance music scene including Paul Oakenfold and Björk would gather. Keen to learn about production, Emerson was initially unimpressed by Smith’s works in progress but the two soon began to gel. “It took me a long time to assimilate the rules of dance music from Darren until I felt ready to break them,” says Smith. “I had no confidence yet. Working with Darren helped me develop it.” And to Hyde’s surprise, Emerson encouraged him to do what he thought he’d left behind: sing, and play guitar.
The trio adopted new methods of working. They would record a track, let Emerson road-test it with the Milk Bar crowd, and then revise it until it reached its optimum. This could be confusing. When the three were out clubbing one night Hyde heard an amazing house track with a searing guitar riff, an utterly new sound. This is it, he told Smith, this is what we should be doing. “Karl,” his friend replied, “This is us.” (The track was Dirty Guitar, which appears on the Dubnobass reissue).
With their first release – a 12-inch called The Hump which they sold to the specialist dance shops out of the back of an old Sierra estate car – the new Underworld turned the first profit they had ever seen from music. “It showed that this could work,” Hyde recalls. “The route of going cap in hand to a major label for an advance, and then losing control of what we were doing, was obsolete. We could do it ourselves.”
A further run of club hit 12-inch singles – Mmm… Skyscraper I Love You, Rez, Dark And Long – culminated in Dubnobasswithmyheadman, which announced Underworld as a new kind of band. Their influence grew after a commercial breakthrough when the raucous track Born Slippy Nuxx accompanied a key scene in the movie Trainspotting.
New generations of dance music artists (Basement Jaxx, Daft Punk) would follow Underworld’s lead in constructing epic live shows. U2 borrowed their programmed textures for their Pop album. Radiohead took inspiration from Underworld to delve deeper into electronica for their transformative Kid A and Amnesiac albums.
But there remains something undeniably special about the Dubnobass tracks, all recorded on simple kit in a semi-detached house in suburban Romford. When Trainspotting director Danny Boyle asked Smith and Hyde to provide music for the London 2012 Olympics opening ceremony, they selected some of Dubnobass alongside songs by Arctic Monkeys, David Bowie and Emeli Sandé. These pieces of handmade electronica were finally heard by millions of people around the world. Something in them still resonates.
“Dubnobass still sounds alive and pertinent,” says Karl Hyde, “because it’s got struggle to it. It’s got the forming of a group that doesn’t know what it is yet, and it’s got hope in the darkness too. Positivity in the face of adversity.”

[negative1]

10 October 2014Underworld: ‘Rave was more punk than punk’

The trio adopted new methods of working. They would record a track, let Emerson road-test it with the Milk Bar crowd, and then revise it until it reached its optimum. This could be confusing. When the three were out clubbing one night Hyde heard an amazing house track with a searing guitar riff, an utterly new sound. This is it, he told Smith, this is what we should be doing. “Karl,” his friend replied, “This is us.” (The track was Dirty Guitar, which appears on the Dubnobass reissue).


hilarious

later
-1

[jetpig]

The trio adopted new methods of working. They would record a track, let Emerson road-test it with the Milk Bar crowd, and then revise it until it reached its optimum. This could be confusing. When the three were out clubbing one night Hyde heard an amazing house track with a searing guitar riff, an utterly new sound. This is it, he told Smith, this is what we should be doing. “Karl,” his friend replied, “This is us.” (The track was Dirty Guitar, which appears on the Dubnobass reissue).



I'm sure that was a wonderful moment! Or at least it's a wonderful story to tell 20+ years on. :)

[whatmakesustick]

So I got my Rez 12" today. It's really lovely - but imagine if the b-side was a new track....a kind of nod to the future...just sayin'

[Nico4]

Listened to disc 1, 3 & 5 today. I'd say that the remaster for disc 1 is pretty damn good. 3 is mostly fine, though I imagine that cleaning the sound up from those old DATS is both difficult and could actually result in more damage. The live jam disc was a lot of fun. Yes the sound quality is a bit odd, plus the skips and hisses, but I'll gladly take it, the entire disc was just one huge amount of fun. I do however find it odd, that the Spoonman live jam suddenly switched over to the album version? Like, the live jam mixed into the album version. It's strange...

[vacant]

Is anyone else a little disappointed with the quality of the Yellow Rez 12"? The label on mine is yellow but it looks as if someone has been handling it with black inky fingers, in that there are smudgy marks on the label. They vinyl (and sound quality of the record) is fine.

Might just be my copy, in which case I'll buy another but hoping it's not a printing mistake.

[DShamen]

I'm absolutely loving Concord at the minute, almost hard to believe it didn't make the album. But then again, as it's one of the finest albums ever created (in my opinion anyway) then it's probably understandable. Surprised it never made it onto the singles as a B-side though.

[Bargo]

Took its time, but the 5-disc edition finally arrived at my doorstep down in Australia today. Loving it!! What an amazing collection of music.. revisiting all those b-sides which I haven't listened to in a while (or ever) has been a blast.

[whatmakesustick]

Is anyone else a little disappointed with the quality of the Yellow Rez 12"? The label on mine is yellow but it looks as if someone has been handling it with black inky fingers, in that there are smudgy marks on the label. They vinyl (and sound quality of the record) is fine.

Might just be my copy, in which case I'll buy another but hoping it's not a printing mistake.

Mine is like that too.

I like it :-)

[mark3]

Is anyone else a little disappointed with the quality of the Yellow Rez 12"? The label on mine is yellow but it looks as if someone has been handling it with black inky fingers, in that there are smudgy marks on the label. They vinyl (and sound quality of the record) is fine.

Might just be my copy, in which case I'll buy another but hoping it's not a printing mistake.

I got it the other day too, and it's also with smudged labels. I guess that's what the 'manufacturing issues' were all about, and that they decided to ship them.eventually..

[jetpig]

Second Toughest…? We’d be crazy not to…

http://doandroidsdance.com/features/karl-hyde-underworld-dubnobasswithmyheadman-interview/

[potatobroth]

Does Karl say "blu ray mobile" in the Alt version of Cowgirl? If so, buh?

[woofmute]

blue removal men through to be batman again,(Either "through to", or "thrilled to")

http://www.borndirty.org/forums/showpost.php?p=156992&postcount=8

[whatmakesustick]

So I might be being a bit thick but I'll ask anyway. With my 5cd box set came a flyer with my download code for the 'hd download of the 2014 remaster'. When I log in I get the option of mp3 or WAV.

What does it mean by 'hd' download - does this mean the BluRay version? I guess not because otherwise it would not be available in mp3/WAV?

[vacant]

HD Audio is normally WAV or 320 MP3 depending. It's not a widely-used term so is pretty ambiguous.

[hypeless]

So I might be being a bit thick but I'll ask anyway. With my 5cd box set came a flyer with my download code for the 'hd download of the 2014 remaster'. When I log in I get the option of mp3 or WAV.

What does it mean by 'hd' download - does this mean the BluRay version? I guess not because otherwise it would not be available in mp3/WAV?

Has anyone downloaded this yet? What is it?

[TheBang]

HD Audio is normally WAV or 320 MP3 depending. It's not a widely-used term so is pretty ambiguous.
I wouldn't consider anything less than 24-bit as "HD Audio"

[woofmute]

So we know things about the development of every song on the album now?

Dark and Long had a demo with a few more Bigmouth elements,
Skyscraper had a demo with what seems to have become the lyrics to Spoonman,
After Sky's demo lacks the "Like I feel" sample from 'Can You Feel Me?'.
Surfboy's lyrics seem to have come from the Cowgirl demo.
Spoonman had a demo that lacks the "Don't put your hand where you wouldn't put your face" section, the lyrics that came from the Skyscraper demo.
Tongue sounds like it was longer originally. It fades out while Karl's singing. Lyrics came from the Cowgirl demo.
Dirty Epic evolved from Dirty and Dirty Guitar. Is Dirty Ambi a demo, or is it just a jam with the more ambient elements of the song?
Cowgirl's demo lacked the synths from the final. Had more to it in terms of lyrics. Wasn't using the percussion from Concord...
River of Bass on the album cuts out the whole middle section from the DAT tape version.
Mother Earth evolved from being an MKI song...

There's a very short section of the intro synth from Tongue (Also used in Big Meat Show) at roughly 9:35 in the Spoonman demo...

[negative1]

for those in the US, amazon.com has lots of good prices now
for the deluxe, and super deluxe versions of this.

i'm getting the bluray audio disc to check out,
should be interesting.

later
-1

[Underworldradar]

I'll tell you which track sounds like it has got a new lease of life with the remastering:

Surfboy!

Theres all kinds of stuff that you cant hear on the original that they've dug out of

Also, despite the fact it has aged quite well, should SToTI get a remaster? And as part of the multi disc special, Born Slippy (Remastered) has to be included

[jetpig]

I'll tell you which track sounds like it has got a new lease of life with the remastering: Surfboy! Theres all kinds of stuff that you cant hear on the original that they've dug out of Also, despite the fact it has aged quite well, should SToTI get a remaster? And as part of the multi disc special, Born Slippy (Remastered) has to be included

Uhhh, yes. Yes STitI should get a remaster. It's SQ is marginally better than DubNo, not to mention that Karl in interviews has said they definitely will do it. Slippy will likely get it's own disc, and probably own release too. After STitI quality starts to climb and remasters seem a little less needed, though I certainly wouldn't say no to them. Just so long as remastering the whole back catalog doesn't put new material on the back burner.

[negative1]

So I might be being a bit thick but I'll ask anyway. With my 5cd box set came a flyer with my download code for the 'hd download of the 2014 remaster'. When I log in I get the option of mp3 or WAV.

What does it mean by 'hd' download - does this mean the BluRay version? I guess not because otherwise it would not be available in mp3/WAV?

i haven't tried it yet, but i think it is for mp3 files also.

also, i got the bluray audio disc, and it has a code too.

but i think that is for mp3 files again.

*UPDATE : code from bluray is for mp3 files

later
-1

[Lx_Nen]

Uhhh, yes. Yes STitI should get a remaster. It's SQ is marginally better than DubNo, not to mention that Karl in interviews has said they definitely will do it. Slippy will likely get it's own disc, and probably own release too. After STitI quality starts to climb and remasters seem a little less needed, though I certainly wouldn't say no to them. Just so long as remastering the whole back catalog doesn't put new material on the back burner.

For me the unreleased material is the main reason for buying reissues, not a better sounding version of the original. Having said that, the remastered Dubno really is a big leap in sound quality... but I'd buy a 5 disc set of all the others even if there wasn't a remaster, just bonus discs.

[negative1]

It does come with 3 audio options:

2.0 LPCM Stereo 24bit / 96kHz
2.0 DTS Stereo 24bit / 96kHz
2.0 Dolby TrueHD 24bit / 96kHz

Jason

here is the full information from the bluray disc:
===================================
1 video
----------
Decoding H264 stream (track 1): Profile: High@4.1 Resolution: 1920:1080p Frame rate: 23.976
H.264 muxing fps is not set. Get fps from stream. Value: 23.976
H264 bitstream changed: insert pict timing and buffering period SEI units

2 audio
-----------
Decoding LPCM stream (track 2): Bitrate: 4608Kbps Sample Rate: 96KHz Channels: 2 Bits per sample: 24bit

3 audio
-----------
Decoding DTS-HD stream (track 3): Bitrate: 1536Kbps core + MLP data.Sample Rate: 96KHz Channels: 2 (DTS Master Audio 24bit)

4 audio
-----------
Decoding TRUE-HD stream (track 4): AC3 core+TRUE-HD. Peak bitrate: 3330Kbps (core 640Kbps) Sample Rate: 96KHz (core 48Khz) Channels: 2


mother earth looks almost brickwalled, the rest are fine.
will compare with the cd version.


later
-1

[Troy McClure]

here is the full information from the bluray disc: =================================== 1 video ---------- Decoding H264 stream (track 1): Profile: High@4.1 Resolution: 1920:1080p Frame rate: 23.976 H.264 muxing fps is not set. Get fps from stream. Value: 23.976 H264 bitstream changed: insert pict timing and buffering period SEI units 2 audio ----------- Decoding LPCM stream (track 2): Bitrate: 4608Kbps Sample Rate: 96KHz Channels: 2 Bits per sample: 24bit 3 audio ----------- Decoding DTS-HD stream (track 3): Bitrate: 1536Kbps core + MLP data.Sample Rate: 96KHz Channels: 2 (DTS Master Audio 24bit) 4 audio ----------- Decoding TRUE-HD stream (track 4): AC3 core+TRUE-HD. Peak bitrate: 3330Kbps (core 640Kbps) Sample Rate: 96KHz (core 48Khz) Channels: 2 mother earth looks almost brickwalled, the rest are fine. will compare with the cd version. later -1

When a blu-ray audio track is 'brickwalled' like that, do you get the same audio fatigue effect as one does with tradition CD or MP3 files? I haven't been able to give the blu-ray a proper listen yet, but will at the end of the week.

-Jason

[woofmute]

Just thought I'd say, the non-vocoded lines at the end of the remastered Mother Earth are in fact present at the very end of the FM Mix on the Mother Earth/The Hump vinyl.

[gcoleman99]

I was curious about something... According to both my records (and -1's & discogs.com), the original cut of Lemon Interupt's "Dirty" release was 11:14, yet the one that was put on disc 2 clocked in at 10:18. Is this an edit of the original, then?

[TheBang]

Yes, I believe it was discussed earlier in this thread, but it's edited to cut off before the part with the Akira samples. Presumably for licensing purposes?

It's actually an edit of the 11:37 version from the first Anthology, rather than the original 11:14 version.

[Georg.]

I don't know if this has been discussed here before. I bought the "Dubno" deluxe box set from underworldlive and it came with a voucer for a free download of the high quality 24-bit WAV files. I downloaded the file in October but when I unzipped it I recognized that the track "Cowgirl" cuts off at about the 5:47 mark. I downloaded the file again, unzipped it again but with the same result: Cowgirl is still incomplete. From the messages on the Underworld facebook page I remember that at least one other user had the same problem with Cowgirl.

I contacted Underworldlive in October and got a nice answer that they wanted to look into this. Their latest message that I received today suggested that I should re-download the file again. That's what I tried, but I can't re-download it because it says that the code was already used before (of course I used it in October!).

Did anyone of you download the free 24-bit WAV files and did you get the complete version of "Cowgirl"? And is there a possibility that someone could help me out with the complete version of "Cowgirl" from that 24-bit WAV download? Thanks a lot... :rolleyes:

[vacant]

My two copies I downloaded (vinyl & boxset) seem fine.

Check your PM's

v.

[Georg.]

Just to make things clearer, there was a paper voucher included to the 5 disc box set which said:

"thank you for purchasing the 20th anniversary edition of dubnobasswithmyheadman. [-code-] please go to www.underworldlive.com/redeem (http://www.underworldlive.com/redeem) to pick up your hd download of the 2014 remaster of the original album".

That's what I did in October and I downloaded a very large zip file including 96khrz WAV files of the full album. Only the track "Cowgirl" is incomplete and I can't try to re-download the zip file as I have used my code before. All I am looking for now is the full 96khrz WAV of Cowgirl. Cheers...

[jetpig]

There was an error with the downloads, pretty sure UWLive has fixed it. drop them an email at hello@underworldlive.com perhaps?

[gcoleman99]

Yes, I believe it was discussed earlier in this thread, but it's edited to cut off before the part with the Akira samples. Presumably for licensing purposes? It's actually an edit of the 11:37 version from the first Anthology, rather than the original 11:14 version.I must have missed that discussion, though I will admit I did search through the entire thread.

[Georg.]

There was an error with the downloads, pretty sure UWLive has fixed it. drop them an email at hello@underworldlive.com perhaps?

That was the first thing I did. I contacted Underworldlive in October and got an answer that they wanted to look into this. Their latest message that I received yesterday suggested that I should re-download the file again. That's what I tried, but I can't re-download it because it says that the code was already used before (of course I used it in October!)...
:confused:

[TheBang]

I think jetpig was suggesting that you contact them again and explain that you can't re-download.

[Georg.]

I think jetpig was suggesting that you contact them again and explain that you can't re-download.

Of course, that's what I did, too. Still waiting for their answer (and it takes them 2-4 weeks to answer, that's why I am still waiting for a solution since starting this whole thing with my first mail to underworldlive threee months ago...)

[Spooky Shoes]

I'm still waiting for a replacement of the vinyl I bought at the RFH show.

[Spooky Shoes]

Still waiting and no replies to emails.::)

[jetpig]

Steven Hall made some comments in the Drift Facebook group about bigmouth that should be put down here for posterity and archival:


when i released bigmouth it was a tongue in cheek nod to stonefox chase the theme of OGWT on the bbc and a number of italian house versions that had been floating around in ibiza from 88 onwards...if you were around in those days you'd understand the references.the credits on the label,the title,the artist name & the patrick hernandez born to be alive thing were part of the 'silly' concept that amused us and our mates at the time.
the release was something i did with underworld to start our relationship,to see if we all got on and could work together before we got into the serious biz ahead.
that said i thought it would be massive on the prog house scene and at festivals etc and it was. it was a huge track and sold loads and we all still love it today 'cause it set underworld off on their way as a new act unconnected to the stuff they'd done before.
🖖


the guys were desperate to get music out and 'cause we hadn't concluded the legal/biz stuff and the music wasn't exactly underworld-ish we made up a different artist name and did a couple of 12" until we could do our first official underworld release which was skyscraper.


I’d never heard of Freur when I met them and I’m eternally glad of that. 😀