After Wish You Were Here released in 1975, Animals is the tenth progressive rock studio album by Pink Floyd, released on January 21, 1977 in the UK. It is now available in the new 2018 mix in 5.1 version.
We will review 16 versions including vinyl, CD, Bluray, SACD for stereo and 5.1, and original or 2018 remix
You can find the review of other Pink Floyd albums:
Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.
The synthesis of the review and the samples are available here
- Pigs On The Wing 1
- Dogs
- Pigs (Three Different Ones)
- Sheep
- Pigs On The Wing 2
First we will analyze each edition in detail (technical and qualitative analysis), then we will compare the successive editions with their dynamics and assign a final score, and you will be able to listen some samples.
The streaming versions may evolve over time, those presented here correspond to the version tested at the date of publication, or update of the review.
Review of the editions:
Part 1: Presentation of the editions
Part 2 : Waveform and dynamique comparaison
Parts 3 : Spectrum comparisons
Part 4 : Spectrogram comparaisons>
Part 6 : Summary, scoring and Sample
Part 1: presentation of the editions
Ed 1: Vinyl – 1977
Presentation
This is the original vinyl producted in 1977.
| Label | Harvest |
| Reference | 2C 068-98434 |
| Format (speed) | Vinyl |
| Type | LP 33 1/3 rpm |
| Master | Analog |
| Mastering/Pressing | Brian Humphries as Engineer |
| Original recording | Analog |
| State | France |
| Year original | 1977 |
| Year production | 1977 |
Ed 2: Vinyl Japan – 1977
Presentation
This is the original jamanese vinyl producted in 1977.
| Label | CBS/Sony |
| Reference | 25 AP 340 |
| Format (speed) | Vinyl |
| Type | LP 33 1/3 rpm |
| Master | Analog |
| Mastering/Pressing | Brian Humphries as Engineer |
| Original recording | Analog |
| State | Japan |
| Year original | 1977 |
| Year production | 1977 |
Ed 3: Vinyl remastered 2016 – 2016
Presentation
This the remastered vinyl in 2016
| Label | Pink Floyd Records |
| Reference | PFRLP10 0190295996963 |
| Format (speed) | Vinyl |
| Type | LP 33 1/3 rpm |
| Master | Digital |
| Mastering/Pressing | Brian Humphries as Engineer Mastered by Bernie Grundman |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2016 |
Ed 4: Vinyl remastered 2018 – 2022
Presentation
This the vinyl remastered in 2018 issue from the box. The box includes the remastered version in vinyl, CD, Bluray and DVD formats, in stereo and 5.1 versions.
| Label | Pink Floyd Records |
| Reference | PFR28D – 0190295599577 |
| Format (speed) | Vinyl |
| Type | LP 33 1/3 rpm |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie Mastered by Bernie Grundman |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 5: CD remastered 2018 – 2022
Presentation
This the CD remastered in 2018 issue from the box. The box includes the remastered version in vinyl, CD, Bluray and DVD formats, in stereo and 5.1 versions.
| Label | Pink Floyd Records |
| Reference | PFR28D – 0190295599577 |
| Format (speed) | CD |
| Type | PCM 16 bits 44.1 kHz |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 6: BR 1977 2.0 from BOX – 2022
Presentation
This the stereo track of the bluray from the 1977 version in 24 bits 192 kHz. The box includes the remastered version in vinyl, CD, Bluray and DVD formats, in stereo and 5.1 versions.
| Label | Pink Floyd Records |
| Reference | PFR28D – 0190295599577 |
| Format (speed) | Bluray track 2.0 of the 1977 version |
| Type | PCM 24 bits 192 kHz |
| Master | Digital |
| Mastering/Pressing | Brian Humphries as Engineer |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 7: BR 2018 2.0 from BOX – 2022
Presentation
This the stereo track of the bluray from the 2018 remixed version in 24 bits 192 kHz. The box includes the remastered version in vinyl, CD, Bluray and DVD formats, in stereo and 5.1 versions.
| Label | Pink Floyd Records |
| Reference | PFR28D – 0190295599577 |
| Format (speed) | Bluray track 2.0 of the 2018 remixed version |
| Type | PCM 24 bits 192 kHz |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 8: BR 2018 5.1 from BOX – 2022
Presentation
This the 5.1 track of the bluray from the 2018 remixed version in 24 bits 92 kHz. The box includes the remastered version in vinyl, CD, Bluray and DVD formats, in stereo and 5.1 versions.
| Label | Pink Floyd Records |
| Reference | PFR28D – 0190295599577 |
| Format (speed) | Bluray track 5.1 of the 2018 remixed version |
| Type | PCM 5.1 24 bits 96 kHz |
| Master | Digital |
| Mastering/Pressing | 5.1 Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 9: CD layer of SACD 2018 – 2022
Presentation
This the CD layer of the SACD from the remastered in 2018.The SACD includes the 2.0 and 5.1 DSD versions.
| Label | Analogue Productions |
| Reference | PFRSACD28 |
| Format (speed) | CD layer |
| Type | PCM 16 bits 44.1 kHz |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 10: SACD 2.0 remixed 2018 – 2022
Presentation
This the SACD 2.0 layer of the SACD from the remastered in 2018.The SACD includes the 2.0 and 5.1 DSD versions.
| Label | Analogue Productions |
| Reference | PFRSACD28 |
| Format (speed) | 2.0 SACD layer |
| Type | DSD64 |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 11: SACD 5.1 remixed 2018 – 2022
Presentation
This the SACD 5.1 layer of the SACD from the remastered in 2018.The SACD includes the 2.0 and 5.1 DSD versions.
| Label | Analogue Productions |
| Reference | PFRSACD28 |
| Format (speed) | 5.1 SACD layer |
| Type | DSD64 5.1 |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 12: CD ref CK 344748 – 1991
Presentation
This the CD of the original release.
| Label | Columbia |
| Reference | CK 344748 |
| Format (speed) | CD layer |
| Type | PCM 16 bits 44.1 kHz |
| Master | Digital |
| Mastering/Pressing | Brian Humphries as Engineer |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 1991 |
Ed 13: Qobuz Hi-Res 2011
Presentation
This is the original release mastered in 2011 and presented in 24 bits 192 kHz by Qobuz Hi-Rez.
| Label | Pink Floyd Records |
| Reference | Qobuz Hi-Res |
| Format (speed) | Streaming lossless |
| Type | PCM 24 bits 192 kHz |
| Master | Digital |
| Mastering/Pressing | Brian Humphries as Engineer |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2011 |
Ed 14: Qobuz Hi-Res remixed 2018 – 2022
Presentation
This is the release remixed in 2018 and presented in 24 bits 192 kHz by Qobuz Hi-Rez.
| Label | Pink Floyd Records |
| Reference | Qobuz Hi-Res remixed 2018 |
| Format (speed) | Streaming lossless |
| Type | PCM 24 bits 192 kHz |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Ed 15: Tidal Master 2011
Presentation
This is the original release mastered in 2011 and encoded in MQA 24 bits 192 kHz by Qobuz Master.
| Label | Pink Floyd Records |
| Reference | Tidal Master |
| Format (speed) | Streaming MQA |
| Type | MQA 24 bits 192 kHz decoded in 24 bits 96 kHz by Audirvana |
| Master | Digital |
| Mastering/Pressing | Brian Humphries as Engineer |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2011 |
Ed 16: Tidal Master remixed 2018 – 2022
Presentation
This is the release remixed in 2018 andencoded in MQA 24 bits 192 kHz by Qobuz Master.
| Label | Pink Floyd Records |
| Reference | Tidal Master remixed 2018 |
| Format (speed) | Streaming MQA |
| Type | MQA 24 bits 192 kHz decoded in 24 bits 96 kHz by Audirvana |
| Master | Digital |
| Mastering/Pressing | Remixed by James Guthrie |
| Original recording | Analog |
| State | Europe |
| Year original | 1977 |
| Year production | 2022 |
Part 2 : Waveform and dynamic comparaisons
Waveform
The waveform represents sample of ” titre”
The graphs below represent the waveforms of the vinyl versions (Ed1 to Ed4). These versions are dynamic without any effect of strong compression of the dynamics.
The graphs below represent the waveforms of all the digital releases. These versions are dynamic without any effect of strong compression of the dynamics.
Dynamic
Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).
For our 16 editions reviewed have obtained the following Dynamic Range (DR) :
| Vinyl – 1977 | Vinyl Japan – 1977 | Vinyl remastered 2016 – 2016 | Vinyl remastered 2018 – 2022 | CD remastered 2018 – 2022 | BR 1977 2.0 from BOX – 2022 | BR 2018 2.0 from BOX – 2022 | BR 2018 5.1 from BOX – 2022 | CD layer of SACD 2018 – 2022 | SACD 2.0 remixed 2018 – 2022 | SACD 5.1 remixed 2018 – 2022 | CD ref CK 344748 – 1991 | Qobuz Hi-Res 2011 | Qobuz Hi-Res remixed 2018 – 2022 | Tidal Master 2011 | Tidal Master remixed 2018 – 2022 | |
| Global | DR14 | DR14 | DR14 | DR13 | DR12 | DR14 | DR12 | DR13 | DR12 | DR12 | DR13 | DR12 | DR14 | DR12 | DR14 | DR12 |
| Min | DR13 | DR12 | DR13 | DR13 | DR11 | DR12 | DR12 | DR12 | DR12 | DR12 | DR12 | DR11 | DR12 | DR12 | DR12 | DR12 |
| Max | DR15 | DR15 | DR15 | DR13 | DR13 | DR15 | DR13 | DR15 | DR13 | DR13 | DR14 | DR14 | DR14 | DR13 | DR14 | DR13 |
| Pigs On The Wing 1 | DR15 | DR15 | DR15 | DR13 | DR13 | DR15 | DR13 | DR14 | DR13 | DR12 | DR12 | DR14 | DR14 | DR12 | DR14 | DR12 |
| Dogs | DR14 | DR12 | DR15 | DR13 | DR12 | DR14 | DR12 | DR13 | DR12 | DR12 | DR13 | DR11 | DR14 | DR12 | DR14 | DR12 |
| Pigs (Three Different Ones) | DR14 | DR15 | DR13 | DR13 | DR11 | DR13 | DR12 | DR13 | DR12 | DR12 | DR13 | DR12 | DR13 | DR12 | DR13 | DR12 |
| Sheep | DR13 | DR13 | DR13 | DR13 | DR11 | DR12 | DR12 | DR12 | DR12 | DR12 | DR12 | DR11 | DR12 | DR12 | DR12 | DR12 |
| Pigs On The Wing 2 | DR14 | DR14 | DR14 | DR13 | DR13 | DR14 | DR13 | DR15 | DR13 | DR13 | DR14 | DR14 | DR13 | DR13 | DR13 | DR13 |
We will find a classification according to the mix with a DR14 for the 1977 versions and a DR12 for the 2018 remix. The 5.1 versions of the 2018 mix being slightly above the stereo version with DR13.
As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.
Part 3 : spectrum comparisons
Spectrum
The Spectrum allows to check the tonal balance of the music (balance between treble, medium and bass sounds) and to detect process that may have been carried out during the recording, the mixing, mastering or manufacturing phases. It is also possible to detect frequency interference issues.
The spectra of the 1977 vinyl and the 1977 bluray version are very similar, with a small dip between 2 kHz and 7 kHz (yellow zone) of 2-3 dB for the vinyl. There are also slight differences in the low frequencies (green zone) and in the high frequencies above 17 kHz (yellow zone)
The 1977 Japanese vinyl differs from the 1977 French vinyl with a large variation of the treble level above 4 kHz with almost 10 dB at 15 kHz (yellow zone). The bass is also attenuated by 5 dB below 150 Hz (green zone).
The 2016 remastered vinyl version shows a different spectrum from the 1977 vinyl especially between 2kHz and 15kHz with between 1 and 3 dB more. The red zone shows a non-regularity above 15 kHz of the 2016 vinyl which is due to a specificity of the burning head or to an equalisation. We find a peak of more than 10 dB at 17 kHz, then a sharp drop of 20 dB and again a peak of 10 dB. This is one of the characteristics of the vinyl mastered by Bernie Grundman.
The spectrum of the 2018 vinyl version of the remix is similar to the 2018 bluray version with a slight attenuation of one dB between 20 and 700 Hz. The red zone shows a non-regularity above 12 kHz of the vinyl which is due to a specificity of the burning head or to an equalisation. We find a rise in level between 15 kHz and 17 kHz of about 5dB, then a sharp drop of 20 dB and again a peak of 8 dB. This is one of the characteristics of the vinyl mastered by Bernie Grundman like the vinyl remastered in 2016.
Perfect overlay of 2018 CDs from the box or SCAD layer
The new 2018 mix of the bluray (Ed6) brings differences from the original 1977 bluray version, with a higher treble level (yellow area) and more bass (green area) up to 5 dB below 100Hz. There are several spurious frequency peaks between 40 and 70 kHz (red arrow)
The spectra curves of the bluray 5.1 version show the level of the different channels and the cut-off around 150 Hz of the LFE channel (Bass).
Between the CD layer of the SACD and the DSD layer of the SACD we find the same frequency spectrum up to 22 kHz which is the one of the CD.
For the 2018 mix, the spectrum of the DSD64 version of SACD is fully overlapped with the PCM 24/192 version of Bluray up to 30 kHz. Beyond 30 kHz, the SACD has a noise floor rise that is filtered out here at 60 kHz. It can be seen that the bluray version has a lot more detail above 30 kHz with in particular the spurious frequency peaks between 30 and 70 kHz.
The spectra curves of the bluray 5.1 version show the level of the different channels and the cut-off around 150 Hz of the LFE channel (Bass). The red arrow shows the rise of the background noise above 30 kHz specific to DSD64.
The comparison of the spectrum between the 1986 CD and the 1977 Bluray version shows small differences in the low frequencies (green zone) and in the high frequencies above 6 kHz (yellow zone). The yellow arrow shows the cutoff of the CD below 22 kHz, which is the limit due to the sampling frequency of the CD
Perfect superposition of the spectra between the bluray version of 1977 and the Qobuz Master version of 2011. We find a frequency peak below 50 kHz (red arrow) which characterizes this 1977 edition.
Perfect superposition of the spectra between the 2018 bluray version and the 2018 Qobuz Master version. We find a set of frequency peaks between 30 and 70 kHz (red arrow) which characterizes this 2018 edition.
Very nice superposition of the spectra between the Qobuz 2011 version and Tidal 2011 up to 48 kHz which is the software decoding limit of MQA.
Very nice overlay of spectra between the Qobuz 2018 version and Tidal 2018 up to 48 kHz which is the software decoding limit of MQA. However, the frequency peaks are less accurate in the MQA compressed Tidal version compared to the Qobuz version.
Part 4 : Spectrogram comparaisons
Spectrogram
Spectrogram is another representation of frequency versus time of a track. For each channel (right and left), horizontal axis represents time, and the vertical axis represents frequency. The amplitude is represented by the intensity (brightness) of the color of each point in the image.
The graphs below represent the spectrogram of the 1977 (Ed1) and Japanese 1977 (Ed2) vinyls. The signal rises above 20kHz (yellow arrow). Beyond that, we find the continuity of the signal and also the distortion generated by the playback of the vinyl (white arrow). For the 1977 edition, the red arrow indicates a spurious frequency continuously present in the 30 kHz, this frequency comes from the master and shows that the signal rises well beyond 30 kHz
The graphs below represent the spectrogram of vinyls from 2016 (Ed3) and remixed in 2018 (Ed4). The signal rises above 20kHz (yellow arrow). Beyond that, we find the continuity of the signal and also the distortion generated by the playback of the vinyl (white arrow). The red arrow shows the cutoff effect at 17kHz that was introduced for the burning of these vinyl versions
For the 3 CD editions, we find the 22 kHz limitation (yellow arrow) due to the 44.1 kHz CD sampling frequency. There is no signal above (white arrow)
For the Bluray stereo (1977 and 2018) and Qobuz Master (1977 and 2018) versions below, the 22 kHz frequency (yellow arrow) is well exceeded by the music (white arrow), there are also peaks of spurious frequencies above 30 kHz (red arrow)
The bluray in 5.1 version shows that the channels go up to 48 kHz (yellow arrow) due to the sampling frequency of 96 kHz (it’s 192 kHz for the stereo version) except for the LFE channel (bass) which is cut at about 120 Hz (green arrow). The white arrow shows that there is no signal above 48 kHz.
The SACD versions (stereo and 5.1) below show above 20 kHz (yellow arrow) with a clearly visible music signal (white arrow). However, the principle of DSD means that there is a rise in noise above 30 kHz (red arrow)
The Tidal Master versions of 2011 and 2018 below shows well the presence of the signal up to 48 kHz (yellow arrow) without any signal above (white arrow), limit of the software decoding of MQA, to go beyond 48 kHz, it is necessary to use a DAC compatible MQA.
Part 5 : Spatialization
Spatialization allows you to define the sound distribution of the music on all the channels. The spatialization indicator and the description of the graph are described here.
Pink Floyd have been using multichannel since the quadraphonic in the 70’s by totally exploiting the spatialization, we find in this 5.1 version a mix that exploits all the channels by bringing a spatialization that follows perfectly the music.
Ed8 :BR 2018 5.1 from BOX – 2022
Spatialization : ●●●●o (3.6)
Ed10 : SACD 5.1 remixed 2018 – 2022
Spatialization : ●●●●o (3.7)
Part 6 : Summary, scoring and Samples
Ed 1: Vinyl – 1977
The original vinyl is well pressed with a reduced surface noise, we find here the balance and the mix of the original version.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Dogs” 24 bits 88.2 kHz:
The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.
Ed 2: Vinyl Japan – 1977
The Japanese version is a surprise, but not a good one, no problems concerning the quality of pressing, but the sound balance is different and the attenuation of the bass makes lose energy in the rendering of music.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●oo (3)
Sample : “Dogs” 24 bits 88.2 kHz:
Ed 3: Vinyl remastered 2016 – 2016
The quality of pressing of the remastered vinyl of 2016 is good, we find the original mix. However, the rise in the treble makes the guitar less natural. The result will depend on its cell, with a cell that attenuates the highs, it will compensate the result, but with a linear cell or worse with a cell that accentuates the highs, it creates an additional brightness.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●oo (3.5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●oo (3.5)
Sample : “Dogs” 24 bits 88.2 kHz:
Ed 4: Vinyl remastered 2018 – 2022
The vinyl of 2022 uses the remixing of 2018, we immediately find a more natural balance, a better presence of the voice, a better balance of the instruments. This remix is a success that allows to appreciate totally this album. However, the quality is not the same for all the copies of the vinyl, but the majority of the cracks disappear after a washing. Concerning the rendering, as for the edition of 2016, we find an accentuation of the extreme treble which brings a little more brightness. Depending on your equipment, this can improve the rendering or bring a little extra shine in the guitar for example.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●oo (3.5)
- Surface noise: ●●●oo (3.5)
- Restitution: ●●●●o (4)
Sample : “Dogs” 24 bits 88.2 kHz:
Ed 5: CD remastered 2018 – 2022
The CD with the 2018 mix allows to appreciate the new mix, but it remains slightly behind the high resolution versions in terms of finesse and openness.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Dogs” 16 bits 44.1 kHz:
Ed 6: BR 1977 2.0 from BOX – 2022
We find here the original version in high resolution in 24 bits 192 kHz, this recording is of very high quality and keeps all the nuances of the original recording.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4)
Sample : “Dogs” 24 bits 96 kHz:
Ed 7: BR 2018 2.0 from BOX – 2022
The remixed version of 2018 in high resolution 24 bits 192 kHz is the reference format to listen to this album in digital, we find here all the qualities of the new mixes with all the details and nuances
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : “Dogs” 24 bits 96 kHz:
Ed 8: BR 2018 5.1 from BOX – 2022
This version brings everything we could hope for, the new mix of 2018 with the high resolution 24 bit 96 kHz and the sound in 5.1 that brings spatialization in addition to the other versions. This mix is a success and immerses us totally in the album. Pink Floyd started doing multichannel in the 70s, they know what it is.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Spatialization: ●●●oo (3.6)
- Restitution: ●●●●o (4.5)
Sample : “Dogs” 5.1 24 bits 96 kHz:
The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.
Ed 9: CD layer of SACD 2018 – 2022
No surprise for this CD version which comes from the SACD CD layer. It is similar to the CD version of the box including vinyl, bluray and dvd.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Dogs” 16 bits 44.1 kHz:
Ed 10: SACD 2.0 remixed 2018 – 2022
Very beautiful rendering of the SACD version with a beautiful natural restitution, it is the advantage of the DSD side sonority. It is a pity that we cannot have a version in DSD256 to be even more faithful to the original. An alternative to SACD is to have a converter that allows you to convert the PCM 24/192 to DSD256 to find a similar sound. The listening result is influenced by the DAC and its way of processing high resolution files, whether in PCM or DSD.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Spatialization: ●●●●o (3.7)
- Restitution: ●●●●● (5)
Sample : “Dogs” 24 bits 88.2 kHz:
Ed 11: SACD 5.1 remixed 2018 – 2022
As for the bluray, we find here the new mix, the high resolution and especially the 5.1 which brings a spatial rendering of this album. The restitution is very good and detailed. The difference with the Bluray is very minimal and depends mainly on the DAC.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : “Dogs” 5.1 24 bits 88.2 kHz:
The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.
Ed 12: CD ref CK 344748 – 1991
This CD version is more accurate than the 1977 vinyl version, but does not bring the same smoothness in the upper spectrum.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Dogs” 16 bits 44.2 kHz:
Ed 13: Qobuz Hi-Res 2011
Proposed in streaming in 24 bits 192 kHz, this version is similar to the 1977 bluray version
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4)
Sample : “Dogs” 24 bits 96 kHz:
Ed 14: Qobuz Hi-Res remixed 2018 – 2022
Available for streaming in 24-bit 192 kHz, this version is similar to the remixed bluray version from 2018.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : “Dogs” 24 bits 96 kHz:
Ed 15: Tidal Master 2011
This version is similar to the Qobuz version 2011, we can detect subtle nuances between the two versions which may be due to the MQA encoding, but the result remains of very high level.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4)
Sample : “Dogs” 24 bits 96 kHz:
Ed 16: Tidal Master remixed 2018 – 2022
This version is similar to the Qobuz version 2018 remixed , we can detect subtle nuances between the two versions which may be due to the MQA encoding, but the result remains of very high level.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : “Dogs” 24 bits 96 kHz:
The 2018 remixed version brings a new dimension to this 1977 album. We will particularly note the work done on the 5.1 version which is very good to listen to and totally immerses us in the universe of Pink Floyd. The high resolution stereo version is very good, whether in SACD or PCM 24/192 version(bluray or streaming). The quality of rendering between these two versions will depend on the DAC used and the processing it performs for the conversion. The vinyl arrives with its warmer rendering but also specific (increase of the treble) and will depend on the cell and the preamp used. The version of 1977, thus remains a notch below. The vinyl will bring an analog version of the original, while the high resolution digital versions will be the nearest to the original tape in digital version.
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Detail of the ratings :
- Dynamic :
- Significant dynamic compression, DR less than 7
- Compression of the present dynamics, DR between 7 and 9.
- Correct piece DR >=10
- No dynamic compression (DR >12), dynamic rendering
- No dynamic compression, high DR and very dynamic sound rendering
- Spectrum :
- Spectrum cut and less than 15 khz
- Spectrum cut at 15 khz
- Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
- Spectrum conforming to the original (but not HD)
- Spectrum conforming to the original with HD resolution (higher than 24kHz)
- Surface noise (only for vinyl):
- Continuous audible noise
- Audible surface noise except on passages with a high level of noise
- Reduced surface noise, barely audible on low level crossings
- Low surface noise, very good quality
- Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
- Spatialization :
- Between 0 and 5 for 5.1 or 7.1 channels configuration
- Between 0 and 10 for Atmos configuration (7.1.4)
- For more information on spatialization, you can read the article describing this parameter here.
- Restitution :
- Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
- High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
- Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.
Brilliant
Any chance of Bat Out Of Hell? The original tapes are apparently lost – and the recording itself is poor at best. I would love to see the results to make an informed choice of the best available source
Many thanks for a truly remarkable website.