Daft Punk make a remarkable comeback with a special version of “Random Access Memories“, their ultimate opus. Last May, they surprised fans by releasing a commemorative edition to celebrate the album’s 10th anniversary, enriched with 35 minutes of previously unreleased tracks. However, the iconic duo have another surprise in store for this new edition. After testing the first track, entitled “Within“, here’s a review of the album, which has been reworked without any drum or percussion elements, giving a new artistic vision to this unprecedented approach. Is the album as successful as the first single? That’s what we’re going to find out with different formats such as vinyl, digital stereo and Dolby Atmos.

For this review, you will compare 4 versions (Drumless Edition): Vinyl , Tidal MAX Flac in 24 bits 88.2 kHz, Deezer Hifi in 16 bits 44.1 kHz and Tidal Dolby Atmos .

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

The album is composed of 13 tracks:

1. Give Life Back To Music
2. The Game Of Love
3. Giorgio By Moroder
4. Within
5. Instant Crush
6. Lose Yourself To Dance
7. Touch
8. Get Lucky
9. Beyond
10. Motherboard
11. Fragments Of Time
12. Doin’ It Right
13. Contact

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 5 : Spatialization

Part 6 : Summary, scoring and Sample

Part 1: presentation of the editions

Ed 1: Vinyl (Drumless Edition) – 2023

Presentation

The vinyl version is composed of 2 discs of 180g in 33 rpm in a very nice Gatefold sleeve including a 8-page booklet (ref: 19658808331).

Ed 2: Tidal MAX Flac (Drumless Edition) – 2023

Presentation

The Tidal MAX is presented in format FLAC (24 Bits 88.2 kHz).

Ed 3: Deezer (Drumless Edition) – 2023

Presentation

The Deezer Hi-fi is presented in 16 Bits 44.1 kHz.

Ed 4: Tidal Dolby Atmos (Drumless Edition) – 2023

Presentation

The Tidal Dolby Atmos version is presented in Dolby Digital Plus format at 768 kbps or in AC-4 (binaural).

Part 2 : Waveform and dynamic comparaisons

Waveform

The waveform represents tracks of the two tracks.

The waveforms of the vinyl record and the Dolby Atmos version downmixed to 2.0 are the most dynamic (DR12 and DR13). There are differences between these two versions, with the Dolby Atmos version showing greater differences in levels.

The waveforms of the Tidal MAX Flac (24-bit 88.2 kHz) and Deezer Hi-hi (16-bit 44.1 kHz) versions are identical, with the use of a limiter that limits the most significant peaks. The limiter’s impact is less significant than on the original album (see analysis here), as confirmed by the album’s average dynamic range of DR9 (with a minimum value at DR8).

The curves below compare the album’s waveforms for the vinyl disc, Tidal MAX (eq Deezer) and Dolby Atmos (downmixed to 2.0) versions for the Drumless version and also the original Tidal version.
We can clearly see the effect of DR on waveform rendering, which becomes more and more detailed as we go down the curves, from the Tidal MAX (eq Deezer) version (DR9) to the Dolby Atmos version (DR13 downmixed in 2.0).

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 4 editions reviewed have obtained the following Dynamic Range (DR) :

	Vinyl (Drumless Edition) – 2023	Tidal MAX Flac (Drumless Edition) – 2023	Deezer (Drumless Edition) – 2023	Tidal Dolby Atmos (Drumless Edition) – 2023
Global	DR12	DR9	DR9	DR13
Min	DR10	DR8	DR8	DR11
Max	DR14	DR10	DR10	DR18
Give Life Back To Music	DR12	DR8	DR8	DR14
The Game Of Love	DR14	DR10	DR10	DR15
Giorgio By Moroder	DR11	DR9	DR9	DR13
Within	DR10	DR10	DR10	DR11
Instant Crush	DR11	DR9	DR9	DR14
Lose Yourself To Dance	DR12	DR9	DR9	DR18
Touch	DR11	DR10	DR10	DR15
Get Lucky	DR14	DR10	DR10	DR18
Beyond	DR12	DR9	DR9	DR13
Motherboard	DR11	DR10	DR10	DR14
Fragments Of Time	DR11	DR10	DR10	DR15
Doin’ It Right	DR12	DR9	DR9	DR13
Contact	DR10	DR9	DR9	DR12

The Tidal and Deezer digital stereo versions are the least dynamic, as shown by the waveforms (DR9), followed by vinyl (DR12). As is often the case, Dolby Atmos remains the most dynamic version, with a DR13 measured in 7.1.4 configuration and a DR13 in 2.0 downmix.

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 graph below shows the spectrum of the vinyl record (white curve) and the Tidal MAX version (blue curve), and shows that the two curves are identical from 400 Hz to 10 kHz, but with some differences: – below 400 Hz (green zone), the vinyl record has slightly more level (up to +1.5 dB). – above 10 kHz, the vinyl record’s response is less regular than the Tidal version, with peak accents of up to 5 dB. However, we note (yellow arrow) that the vinyl record does not rise above 22 kHz, unlike the curve for the Tidal Max version.

The graph below shows the spectrum of the Deezer version (white curve) and the Tidal MAX version (blue curve). The two curves overlap perfectly up to 22 kHz (yellow arrow), the limiting frequency of the Deezer version due to the 44.1 kHz sampling frequency used.

The spectrum of the Tidal Dolby Atmos version decoded in 5.1 shows that all channels are well used.
The bass channel is not used.
The yellow arrow indicates the high-frequency limit at 20 kHz due to Dolby Digital Plus encoding.
The white arrow indicates the 24 kHz high-frequency limit due to encoding at the 48 kHz sample rate used, confirming that it is the Dolby Digital Plus encoding algorithm that cuts frequencies at 20 kHz to reduce data size in order to maintain the 768 kbits/s bit rate.

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 spectrogram of the vinyl record below shows a frequency rising above 20 kHz (yellow arrow) with a signal above these frequencies which is made up of music and also distortion due to the principle of vinyl record playback (white arrow).

The spectrograms for the Tidal MAX Flac rise above the 20 kHz frequency (yellow arrow), with signal present above 30 kHz (white arrow). This confirms the use of a 88.2 kHz sampling frequency.

The spectrogram of theDeezer version is limited to 22 kHz (yellow arrow) with no signal above (white arrow). This limitation is due to the sampling frequency of 44.1 kHz.

The spectrogram of the Dolby Atmos track downmixed in stereo is limited to 20kHz (yellow arrow) with no signal above (white arrow).
This limitation is due to Dolby Digital Plus encoding, which is a lossy encoder that limits bandwidth to optimize data size for a bit rate of 768 kbits/s.

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.

Spatialization is available for Tidal Dolby Atmos .

Below the spatialization for all tracks. Click on the images to zoom in.

Part 6 : Summary, scoring and Samples

You can find a review of the original version HERE, with a sample of “Get Lucky” for comparison with this Drumless version.

Ed 1: Vinyl (Drumless Edition) – 2023

The vinyl precuting is of good quality, with reduced surface noise. The album’s sound is detailed and natural, with many details to the fore. The tonal balance is consistent with the digital stereo version, which provides more extreme bass.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●● (5)
• Surface noise: ●●●●o (4)
• Restitution: ●●●oo (3.5)

Sample : ”Get Lucky” 16 bits 88.2 kHz:

Ed 2: Tidal MAX Flac (Drumless Edition) – 2023

The Flac version of Tidal MAX offers us a 24 bist 88.2 kHz version that fully exploits the high-resolution spectrum. The rendering is precise and detailed, highlighting the reorchestration work carried out on this album, but unfortunately suffers from a limitation of the dynamic range, which is fortunately not too aggressive, but offers a less dynamic rendering than the Dolby Atmos version. As a result, there is more bass and extreme bass than on the vinyl disc.

Rating:

• Dynamic: ●●ooo (2)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●oo (3)

Sample : ”Get Lucky” 16 bits 88.2 kHz:

Ed 3: Deezer (Drumless Edition) – 2023

The Deezer version is very close to the Tidal Max version, which is more natural and more detailed in the upper spectrum, but the rendering also depends on the DAC’s processing of the 44.1 kHz and 88.2 kHz sampling frequencies.

Rating:

• Dynamic: ●●ooo (2)
• Bandwidth: ●●●●o (4)
• Restitution: ●●ooo (2.5)

Sample : ”Get Lucky” 16 bits 44.1 kHz:

Ed 4: Tidal Dolby Atmos (Drumless Edition) – 2023

The Dolby Atmos version in stereo brings a wider sound image with a different spatial distribution due to the Dolby Atmos mix. The tonal balance is slightly different, but in order to compare, you need to apply the Dolby Atmos Music correction curve, which modifies the bass and treble levels (we’ll come back to this curve more specifically).
In multichannel 7.1.4 listening, we find a very successful mix that exploits all the channels. Electonic music lends itself very well to this type of spatial mixing. Here, we’re perfectly immersed in the music, with choirs, music and musical effects distributed evenly and coherently over all channels.
On “Giorgio by Moroder”, the music occupies all the space and revolves around us in a natural way, like a 3d extension of the music compared to the stereo version. We also find this sensation on “Motherboard”.
On “Lose Yourself to Dance”, we’re immersed in the music and the backing vocals, which are spread throughout the space, making natural use of the high channels.
On “Get Lucky” the music begins with an intro that exploits the widening of the soundstage on the side speakers, then on all 7.1 channels. The high channels are used to render the electronic voice.
On “Contact”, we find total immersion in the music, with a sensation of flight, of 3D contact that really immerses us in the music at 360 degrees, unlike the more static stereo version.
This album is one of the best Dolby Atmos mixes, along with Duran Duran’s “Danse Macabre” and Steven Wilson’s “The Harmony Codex”.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●o (4)
• Spatialization: ●●●●●●oooo (5.8)
• Restitution: ●●●●o (4.5)

Sample : ”Get Lucky” Dolby Atmos downmixed in 5.1 :

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.

Sample : ”Get Lucky” Dolby Atmos downmixed in 2.0 :

It was a risk to rework this album without drums, but Daft Punk have risen to the challenge with a re-orchestration that brings more presence and a more paused rhythm to this edition.
The high-resolution digital stereo version delivers a very precise rendering, with limited dynamic compression that favors bass rendering compared to the softer, more natural vinyl version.
But the version that really stands out is the Dolby Atmos mix, particularly in 7.1.4 multichannel listening, where the mix totally immerses us in the music while respecting the spirit of each track. Daft Punk offer us one of the best Dolby Atmos mixes available today ( to be listened to on an Atmos system if you get the opportunity).

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Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. 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 :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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