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Kevin Shirley remixing CTTB

Glenn Hughes has broken the news that he’s been indeed working with Kevin Shirley, and they are working on the Come Taste The Band remixes. Still a work in progress, songs that have received the treatment so far include You Keep On Moving, Gettin’ Tighter, Dealer and I Need Love.

Update (Jan 2): Kevin Shirley writes in his blog:

Just finishing a remix of the Deep Purple album, Come Taste The Band. What a trip!! It’s been such fun – started off with The Drifter and didn’t want to stray too much from the originals, but by the end I’m pushing it, and there are some different bits and pieces all over – I’m diggin’ it. Sent the mixes to both David Coverdale and Glenn Hughes, who also came up to my studio, The Cave, for a day – Coverdale: “Kick arse. KS…a veritable sonic treat…” Glenn Hughes: “Yeah baby!…sounds great…Drums are way better…sounds more cohesive…2 thumbs up…” * I was a Deep Purple fan before I was a Zeppelin fan…

56 Comments to “Kevin Shirley remixing CTTB”:

  1. 1
    stefan says:

    And about time too ! The MK II hardliners may whine all they want but this is a killer album !!!! I sincerely hope it´s littered with bonus tracks, live or studio never before released in any shape or form !!! Great way to start the new year……HAPPY NEW YEAR & ROCK ON !!!

  2. 2
    Tracy Heyder (aka Zero the Hero) says:

    I actually have no problem with the original mixing on the original version. It already had a great sound. Unless it includes some bonus material unissued prior and some deluxe repackaging I don’t have much interest. Glenn’s efforts on the Stormbringer reissue fell short as far as I’m concerned. CTTB should really get special treatment, since it is the Only Studio Purple record with the late great Tommy Bolin. Dig up some obscure material regarding showcasing Bolin with Purple, and it will be a worthy effort….


  3. 3
    grant says:

    Cool. One of the most under-rated Purple albums. Cant wait to hear it remixed, it was always kind of “in the mud”.

  4. 4
    Ulfinho says:

    I don’t want Kevin Shirley to do ANYTHING that has to do with DP. He has ruined the last three Iron Maiden albums and I think he’s the most overrated rock producer on this planet.

  5. 5
    Crimson Ghost says:

    One Purple album of many that sounds brilliantly fine enough on its own and I don’t see how Shirley can help it any, other than his name size, as par for the course with ‘most’ producers these days. I’d like to be proven wrong and all, but this audiophile is very hard to impress. Steve Hoffman is the only one so far besides Roger Glover’s MH anniversary edition that has succeeded in upgrading for my money. And Steve doesn’t bother remixing, he doesn’t have to, he just does everything right by using the great processor that doesn’t compress one slivers worth of data and restores the original sound perfectly imo. It really is what Shirley should do instead of butchering an already masterfull recording. Can you say ‘useless publicity stunt?’ The only upside I can see is the long overdue exploitation of one of rock’s all time best kept secrets. I don’t think Shirley’s talent will prove suitable for something not needed in the first place. I’d rather see him replace Bradford and apply his talent where it belongs, in the contemporary arena. Makes one wonder if Purple are gearing up for an announcement soon enough in that department, or we can only hope so anyway.

  6. 6
    Drdp says:

    I wonder how “The Days May Come,Days May Go” stuff figures into the remastering? Will some of that be included on the single disk or will there be a second? Just wondering. Cheers,Drdp

  7. 7
    Jim SHeridan says:

    Woo hoo! Here’s hoping this appears sooner rather than later –

  8. 8
    joseph says:

    “here are some different bits and pieces all over ”

    Oh my Dear Lord….it wasn’t enough ‘drums sound more coehsive’, whatever does it means ?
    But ‘ different bits all over’ ? The last thing I want to hear after 35 years are different bits – what about addding some congas on This Time Around and a chorus on Owed to G ? Seems to be such a good a idea…

    Freankly, wouldn’t ne enough a little more bass drum and a fatten the guitar a little bit and add 3db on keyboard on final mixing? Adding and open stereo image ?

    Come on…new pieces all over ? God…

    Believe me: if Coverdale liked , licked arse, we will end up in a high volume punchy drums, no bass, , all mid range freq over your face and no dynamics – the worst it could be on little Ian fantastic job.

    Hope i m wrong.

  9. 9
    Lajos says:

    We shouldn´t write a new review here,becouse there´s hardly more to say about this album.Compared to the rest it wasn´t “real” DP,but as an album standing “on its own” it´s a realy great piece of work.Great efforts from all.I didn´t like it att all when it was released,but i changed my mind trough the years.I hope they will not ruining it with new mix.Jeff Lyne acted like Charles Manson in his remixingwork with Beatles “Let it be”.
    Cheers to all of you,and Happy New Year 🙂

  10. 10
    Al Cornish says:

    Like all of you, I’m a huge Purple fan, but why remix what sounded like screeching cats? This was the only album I ever used as a frisbee against a brick wall.
    I tried…I really tried to like it. I even listened to it twice.

  11. 11
    Jim Sheridan says:

    I hope they have some nice bonus material!

  12. 12
    Shane Hathaway says:

    I guess the main thing is we get a good remaster of the origional tapes, then piddle about with remixes if you can make it a double cd or whatever.
    Let the tapes run as per Machine Head so we can hear more of the songs rather than the origional fade out.
    Yes Al I thought it was a bit naff when I first heard it in 77 when I was 17, just like a lot of Stormbringer. Thankfully I have matured a bit since then and can now appreciate good music outside the hard rock stuff. I’ll bet you really hate rap/hip hop!

  13. 13
    Moreblack says:

    to #5 I agree with you.

  14. 14
    Made in England says:

    As I understand it – and I’m no expert – remastering, or more correctly remixing, an analogue multi track recording for CD is about getting the CD/digital version to sound as good as the vinyl original. Only where the original is considered to be a botch job should it be otherwise.

    Any “extra” bits, or remixes are, or at least ought, to be bonus material.

    Again as I understand it there is very little, if any unused material from the master tapes. I hope I’m wrong – I really do. There’s been no mention of any additional material from anyone in all the years we’ve been building up to this final release from the 68-76 era – apart from perhaps DC mentioning something about another instrumental.

    I would not want to see any of the rehearsals material on this release. That material has it’s place and it does just fine where it is. Let’s really push now for a bonus DVD with “Rises Over Japan”.

    I have no reason to doubt KS’s ability as I’m not familiar with his work. If GH and DC’s opinion are not good enough who else should be asked? Would JL or IP be prepared to give their views?

  15. 15
    T says:

    I agree with Tracy that as the only studio Deep Purple album with Tommy Bolin–an outstanding player that has always ranked high on my list–Come Taste the Band deserves some special treatment. I also agree that the mix is one of the better ones in the latter DP catalogue and that the sound is fine as-is.

    On the other hand, it would be interesting to see a re-mix that brings out the nuances that we don’t hear, or to bring out sections from the original takes that were muted out of the final product. The little bits from the Machine Head remixes come to mind, with passages already on the original tape that were either not used or inaudible. Perhaps there are extended versions of songs along the lines of “Smoke on the Water” and “Woman From Tokyo” that each contained a minute or two of extra jamming and the former with an alternate solo. I find myself listening to those versions exclusively and shelving the originals.

    We have the original mixes and therefore know what the “official” recording is like. A re-hash is pointless. What is needed is a freshened mix that brings out something new that gives new life to these old songs that we have heard thousands of times over the past 30+ years.

    For example, I now only listen to the 1997 Remixes of Machine Head and have retired the original album. Remastering only marginally improves the sound; remixing, however, is a creative process that can produce something totally new.

    This is the kind of treatment I would like to see for Come Taste the Band. As a musician, I find that kind of thing historically interesting.

    Those who are not into remixes don’t need to buy the album.

  16. 16
    TruthHurts says:

    A great album, I hope Shirley doesn’t ruin it.

    I’m not really certain how Martin Birch’s original mixes can be improved particularly as the recent US remaster added a nice top end making the sound crisp and clean.

    I’ve learned to become wary of remastering let alone remixing classic analogue material using computer workstations like Protools after enduring over a decade of ‘vastly improved’ reissues which have obliterated all the tonal and volume subtleties that helped make the original recordings so great and subjected them to the horrors of normalisation, brickwalling, ridiculous levels of compression, loudness etc. etc.

    Jeff Lynne did not remix ‘Let It Be’, that was Phil Spector back in 1970. The album has stood the test of time with the public, whereas the 2003 remix by the Abbey Road team hasn’t (yet).
    JL did co-produce “Free As A Bird” and “Real Love” in the mid-90s on Studer A80 analogue using vintage instruments, personally I think he did a great job.

  17. 17
    Masse says:

    I don’t know if you’ve seen the Zeppelin DVD that Kevin Shirley worked on? He restored the sound on that one and did a fantastic job. That DVD sounds just amazing and I can’t think of many guys able to improve on the sound on CTTB, but he is certainly one of them.

    For some reason the decision has been taken to remix it instead of remastering it and I’m sure KS will do a great job. Purple should definitely hire him. Regarding Maiden, I’m actually of the opinion that Maiden haven’t sounded this good since Martin Birch fiddled the knobs!

  18. 18
    Crimson Ghost says:


    I am “into remixes”, as long as they’re done properly, with huge care and don’t thin out an otherwise warm analog sound which has to do with mastering, not to be confused with (re)mixing at all, but it can ruin a very good thing. Its a case of digital foolery either working or not. The result here certainly won’t improve the sound, at best it will retain the original sound quality or its a bad idea. Its very simple science, and my insight tells me it will not improve a thing beyond illusion. But that doesn’t mean it won’t be good or at least interesting and as you say, “refreshing.” In that case I suppose it will serve a purpose no matter what, but any backyard producer can do it. Shirley likely isn’t being paid U2 style money or anything so I also doubt no Rembrant will come of it. We’ll see, I’m certainly going to support it because I feelthe album deserves it and thats all that really matters in them succeeding in the first place, at least with me. After your post I’ll look on the bright side but as an audiophile I already know what to expect because I know what can and can’t be done concerning the mastering levels, and no mixing is going to reinvent it properly because of that.

  19. 19
    fdr says:

    @17 Exactly! The Zep DVD and also How The West Was Won sound marvellous. Regarding Maiden: just compare the sound of the drums on Fear of the dark (the last Birch job, as far as I know) and Brave New World…they never sounded this good!
    As for Purple, I’d love to see Shirley producing the new album and also remastering Bananas and Rapture: there are two great albums hidden over there!

  20. 20
    purplepriest1965 says:

    Interesting comments.
    I love CTTB despite the fact that is is without RB.
    I do own the Japanese cd from 1990 and that always sounded very good to me.
    What s the TOP END of sound, Truth Hurts?

    I m not happy with how BURN turned out after DC s input on it-
    Lots of remixes of RG I prefer above the originals. I m only pissed off about what he did to the remix of When a blind man cries!That intro!!!!!WTF?????!!!!!

    I expected more from the STORMBRINGER remix but it has some nice bits.

    As a vinyl buff I hope for a good VINYL edition again.
    That would make my plea for the VINYL VERSION of the ANNIVERSARY ed of Who do we think we are even more valid. IMO.
    Make it a double Rog!!!!

    Concerning CTTB I agree that the so called JAMS should not be included cause they already had nice treatments on their own.

    Although I m not very keen on awkward combinations of audio and video on this one I might differ.
    We still do not have the RISES OVER JAPAN in full.
    What again prompts the frustrating feeling of where the fuck did they put the rest of the show?!

    I ll never be able to let sign Tommy something, so I ll have to forget that sad one……

    Btw, I m sure Jon is too lazy to make an effort but Paicey might be a very good choice to join this effort cause

    1 He was at a peak way back then.
    2 He did a good producersjob with RG on Live In Japan, I remember.

    And now back to my wish of releasing the Boston 1973 tapes.
    I think this one is really worthy of a special DSPAS release.
    It probably will take some time so YouTube is the place to find solace.
    Where s the next upcoming RECORDFAIR in The Netherlands?
    Or can someone help me out on getting a copy?



  21. 21
    Masse says:

    I think you’ll be amazed at what can be done actually. We’ll all know when it’s out, but I’m more excited about it now when I know Shirley’s handling it.

    He should have mixed the Rainbow ’76 concerts as well, or someone of his caliber. These gigs are so good, but the mixes are really shitty. I actually didn’t buy the last (third) one cause I was so disappointed with the unbalanced sound of the first 2. They’re probably mixed by some “backyard producer”

  22. 22
    Crimson Ghost says:

    @17 and 19

    I totally disagree. That DVD is bunk sounding to me. For one, it’s says it’s done in 5.1 and although it appears to be in some of it, they didn’t do a great job, although Jimmy bragged about it. I’m serious, it miht sound good to people in stereo, but pop it into any system with 5.1 and you will hear exactly what I’m talking about. I’ll bet a million Shirley has done better than that since… it was pretty eraly for 5.1 surround mixing, so I heavily blame that, in fact more so than I blame Shirley.

    Besides, this sort of lends to what I said in my last post anyway, the mastering levels for DVD are not regulated so you can’t ruin them during the mastering, as where CD’s are, and its for the purpose of sounding best on the radio, so no matter how well you mix or remix a CD, if it’s not a DTS hybrid, it will sound good on the radio but nowhere near as good on your sound system. This is a fact, not my opinion.

  23. 23
    Bruce says:

    Ulfinho says:
    I don’t want Kevin Shirley to do ANYTHING that has to do with DP. He has ruined the last three Iron Maiden albums and I think he’s the most overrated rock producer on this planet.

    Don’t blame Kevin, Steve Harris is the scapegoat, as you could hear in the “Special Features” on the IRON MAIDEN DVD – DEATH ON THE ROAD.

    Concerning CTTB I prefer unreleased tracks insteadt of stupid remixing.
    Would anyone “repaint” the MONA LISA for example???? The Glenn Hughes remixes on the STORMBRINGER 2CD-Set are minimal invasive and I never listen again to them. I always prefer the original mix, because THAT is how the band wanted it to be in those days.
    Cheers, Bruce

  24. 24
    Crimson Ghost says:

    Just to add, the very first edition of DP’s Total Abandon on DVD was done poorly as well, they simply got it right on the second release of it. It sounded great in stereo, but the 5.1 mix was improperly channeled. These days it doesn’t happen like that. So listening back to the Zep DVD in stereo it sounds great. There is also a possibility that a second edition getting it right may be out, I don’t know, but I picked it up the week it came out and I haven’t gotten through it in 5.1 even three times because its just plain bogus.

  25. 25
    TruthHurts says:

    @ 20
    top end means treble or the ‘sharper’, ‘tinnier’ sounds.

  26. 26
    Made in England says:

    @ 23

    “Concerning CTTB I prefer unreleased tracks insteadt of stupid remixing. Would anyone “repaint” the MONA LISA for example???? The Glenn Hughes remixes on the STORMBRINGER 2CD-Set are minimal invasive and I never listen again to them. I always prefer the original mix, because THAT is how the band wanted it to be in those days.”

    Exactly. I wouldn’t call the remixes “stupid” but like you, believe the album should be mixed to be as true to the original as possible. Remixes are interesting bonuses where bonus tracks are not available. Like you I rarely return to the later remixes after the first 2-3 listens. Many remixes fail because they contain too much unnecessary lead in/lead out fiddling that would never – should never – be part of a finished number and suddenly contain notes and phrases considered unnecessary or inappropriate at the time of release.

  27. 27
    Moreblack says:

    Well i just want to know where is Martin Birch,the best Purple mixer ever.Anybody knows about him?

  28. 28
    Nick Soveiko says:

    @24 Crimson Ghost:

    you got your facts the other way around. both dts and ac3 specs regulate sound levels on the DVDs. this prevents the loudness wars that are so rampant in the CD business from spreading to DVDs.

  29. 29
    AndreA says:

    The original CTTB has already a good sound. CTTB is thebest funky hard rock LP of all the times. “comin’home” is a fast killer piece and his guitar solo is really murderous. I consider fortunate my self to have “known” T.Bolin (RIP).
    Recently I’ve bought “DEEP PURPLE Days may Come And Days may Go – The California Rehersals june1975 – (purplerecords)”. jams sessions after few weeks that Tommy Bolin joined the band. No very good sound but nice musical piece songs under construction..

  30. 30
    Svante Axbacke says:

    @27 Good question. He retired already back in 1992 and has pretty much not been seen since then. Weird. The word is that he is fishing a lot these days. 🙂 Anyone know where he is now?

  31. 31
    Svante Axbacke says:

    A comment I have to make everytime everyone starts to discuss remastering and remixing: don’t confuse the two. Remixing demands access to the original multi track tapes where the instruments where recorded on their own channels, so you can bring up more guitar or fiddle with the drum sound. Remastering is done on the final stereo or mono mix and you cannot change the levels of the individual tracks.

    If you think instrument levels are being weird on old live recordings, chances are the only thing available is the stereo or mono master, no multi track tapes. It wasn’t very common to record radio or tv appearances on multi track tapes in the early 70’s. Thus, the only thing you can do with these kind of recordings is remastering.

  32. 32
    T says:

    Re: #31

    A very good description of the difference between re-mixing and re-mastering. It was also clear to me that there is some misunderstanding regarding the difference between the two. Some people talk about various sound and noise reduction formats, but these have little to do with mixing.

    Too often, remastering does little to change the original sound of an album and is more of a marketing gimmick than anything else. Anyone remember the “half-speed mastering” craze for LPs? Generally, only high-end equipment will detect a major difference making “remastering” moot for *most* of us, although re-mastering can include marginal changes in overall EQ.

    However, mixing is an ART FORM as important as the musicians involved, and is as integral a component to composition as anything else. Scoring an orchestra is very similar to mixing in that regard.

    A good mix can made a bland song sound great, and a bad mix can ruin a great song. The ’97 Machine Head re-mixes were brilliant, bringing out passages we didn’t know were there–in addition to things present on the tapes but muted out for the final mix. Of particular interest to me are alternate solos that are often on muted tracks that can show the progression and development of a song. I prefer the discarded solo for “Smoke on the Water”. The final cut is very highly polished and extremely clean; but the discarded solo present on the remix contains the warbles and warts of a more impromptu performance–something for which Deep Purple is famous.

    Mixing also depends upon the original equipment used. Early Beatles music had only four tracks, and as a result they had to compose multiple parts by either “mixing” sounds by playing parts “live” or “bouncing” (ping-ponging) tracks together. Either way, once recorded using this method, the tracks cannot be seperated, making remixing limited. By DP’s time, this was less of a problem as more tracks were available, but it stands that the original equipment used will limit the possibilities.

    What Come Taste the Band needs is not so much a “sonic” re-do–since it sounds great already–but rather re-mixing to bring out anything new on the tapes in the same manner as the ’97 Machine Head re-mix. If those bits are not there, it’s pointless and we don’t need to buy another version of the exact same thing. However, sometimes, these old tapes have a *lot* of new music to offer.

  33. 33
    james jay says:

    @10 i’ve listened to some r-bow and dp albums once or twice and sometimes found myself disappointed. that is until i listened to other non purple stuff and discovered their stuff is better than most. as for the sound of CTTB, i agree, new tech may help bring out things that it lacked as stated above. but– please include any found lost gems to the remix.

  34. 34
    stefan says:

    @30 Yeah, Svante ! I´ve often wondered myself about Mr. Birch´s whereabouts the last 15 years or so ! Too bad such gifted and talented guy has made the choice to bow out of the music industry altogether…….Well, as long as he´s happy I guess, and enjoying whatever he´s doing at the present time……Makes one wonder though, what might have been…..ROCK ON !

  35. 35
    Moreblack says:

    Martin Birch has done all things necessary to CTTB stand as one of the best albuns ever.It’s not necessary to remix it.C’mon.A remaster in the digital realm is enough.I didn’t like the remix on Stormbringer.Except the alternate voxes or guitars.

  36. 36
    Svante Axbacke says:

    I don’t see a reason to complain about something like this. Before you have heard it even! If you like the original and think nothing can be done about it, then don’t buy the new one! No one will come home to your house and replace your old copy with a new CD!

  37. 37
    daniel says:

    I actually liked the stormbringer remaster AND remixes a lot. Glenn did a great job and I´m sure he will do the same with cttb.

  38. 38
    purplepriest1965 says:

    Hey T

    What do you think of that weird intro of the remix of When A Blind Man Cries?

    Cheers, Mark

  39. 39
    Moreblack says:

    #36 Nice,you’re a Blackers fan like me.Could only be, with such bad humour.

  40. 40
    Crimson Ghost says:

    So its a good thing then… if one of the points in remixing has to be lower distortion, I’m all for that. And the confusion conclusion was lept to, and amusing to read.

    Why not go all out with a hybrid then anyway? The less compression the better, and the remixing effects will be brought out to the max.

  41. 41
    Heimdall says:

    I bought a Japanese “mini-LP” CD of CTTB a few years ago, and I was stunned by the clarity and power of the sound – not just your typical Japanese “crank up the treble super high” CD pressings, but it actually sounded remastered, bringing out all kinds of little details in the playing I had never heard before (and I’ve listened slavishly to this album since it came out).

    I highly recommend this CD to all MkIV fans while you wait for the new remaster, and I hope that Kevin Shirley doesn’t tinker unnecessarily with what already is a perfect sounding album.

  42. 42
    Tracy Heyder (aka Zero the Hero) says:


    I don’t see many complaints here. Rather opinions being generated regarding the actual Topic for a nice change. There a Good and Bad remasters and remixes. Overall the first batch were Great…the Anniversary Editions of “In Rock, Fireball, and Machinehead”. Nice packaging and great Bonus Material. Also, the MK1 reissues with all those extra tracks. That made all the difference in the world and worth the ReBuy. The Extra Tracks..that’s where it’s at.

    I know I have argued here before regarding the ReMastering and ReMixing issue. But I still state that unless it is done properly, you can get just as much variation from a decent digital equalizer which compresses and decompresses the various frequencies that you select, thereby bringing forward different highs and lows and midrange which also brings forward select sounds such as vocals, bass, guitar, etc. depending on which frequency you are wishing to make more prominent.

    Yes I know, it is nowhere near as efficient as actual ReMixing or ReMastering from the Original Source, but then again, if the ReMastered or ReMixed version is done improperly and doesn’t improve the song to Your Ear, which we all have different hearing with, what’s the point. I felt like the Stormbringer Remaster was worse than the original. But, with my system, I can adjust the controls as I stated above for my liking…..

    Again…I’d love to see a Properly Packaged CTTB ReIssue, but No Bonus Material makes it just another repeat of the same with just minimal sound change that is IMO a waist of time and effort. So Bring on the Bonus tracks not issued prior along with some nice special packaging and I am in Total Support and look forward to it.

    Otherwise, No Thanks….


  43. 43
    Crimson Ghost says:

    I’m hoping for the possibility of a bonus DVD w/Rises Over Japan. I wonder what Shirley would do there if given the opportunity. The whole idea is to have a good producer on this project, what he does with it is yet to be heard, but the “proper” factor is a totally healthy concern. Plus I did say I will support it, so there is nothing wrong with opining about the idea beforehand, afterall, I didn’t say I won’t be supporting it for any reason. All I see here are variations of that opinion being shared. Nobody is altogether knocking it.

  44. 44
    Moreblack says:

    We have lots of engineers here showing their skils.Not bad.Meanwhile the music is suffering til it turns into a compressed mess.Gonna back to my old lp.

  45. 45
    T says:

    Re: #38 What do I think of the intro to the remixed “When a Blind Man Cries”?

    Hi Mark. Thanks for the question.

    You described the intro as “weird”, but believe it or not, after a close listen of the two versions back to back, I find that the intros are exactly the same–with a minor difference that goes to show what a dramatic change a simple remix can make.

    The only difference in physical mix between the two versions is the deletion of a blues riff at the very start of the song. This track was put on “mute” for the remix, and what remains–a repeating ascending backing guitar motif, Hammond organ, bass, and drums–is exactly the same arrangement!

    The reason why the intro sounds strange to you is because it appears that something is “missing”. That’s because something *is*! You are used to the blues passage being there. Now that it’s gone, all you hear is what *used* to be backing tracks that are now brought to the front.

    I never cared for “Blind Man” until the remix. The pan pot settings have a lot more stereophonic depth, the reverb is much more prominent, and the Hammond is louder and clearer in the mix. That backing guitar track in the intro is brought to the front to take the place of the deleted blues riff. The percussion appears as if it is brought more forward as well, and I love how the attack is sharper-sounding with the re-applied reverb.

    It is a matter of taste and opinion, but I feel the intro was too short for a mini-solo and sounds better without it. I like how the organ is more the emphasis. It’s an “organ song” for the most part.

    Sometimes, less is more–and I feel that is the case in this example.

  46. 46
    purplepriest1965 says:


    Which digital eq would you recommend?
    Are they very expensive and or is there a possibility to get them somewhere on e bay at a poor mans price?

    I do have an eq but its old, A Pioneer G 333.
    Combined in a weird way with the rest of my equipment it had a good added value.
    Had, because I lost the magical connections a few years ago because I had to unplug due to renovating the house and moving stuff.

    And the connections I made were done with luck, not knowledge…..
    I have a good hearing but fail in the technical department.

    Cheers, Mark

  47. 47
    T says:

    Re: #43

    Wow… Rises Over Japan as a bonus DVD–that’s a pretty good idea for bonus material. Good thinking.

  48. 48
    Tracy Heyder (aka Zero the Hero) says:

    Priest, my present EQ is a fairly basic 10 Band unit made by ADC. I’ve had it for many years and there are tons of them out there that are inexpensive and much better than mine. Electronics always get better, yet actually stay within the same price range as they improve. I never purchase the NEWLY Released upgrades until they have been on the market for at least a year. Then you can pick that New Technology up much cheaper. Again, I’m not stating here by any means that using a variable frequency EQ is as good as actually properly remixed or remastered recordings, but as I have also stated, if used properly, you can do a pretty decent job adjusting the Highs, Lows, and Midrange frequencies thereby enhancing or diminishing certain levels and in a since, mixing the music to Your Own ears. The human ear is only capable of detecting certain levels and each of us are more or less sensitive to different frequencies where again I stand by the point that a Remixed or Remastered album is going to please some, but not all due to the variance in each individual ear. This is just My opinion, based of my own observation from my own ears which like most true Rock Music enthusiasts are damaged from listening to the music as it was meant to be played…..LOUD!!!!! Not to mention all the years of shooting my guns with no ear protection. Adjusting the music with an EQ is the Only way I can get the sound to where it is good for my lobes.

    That being said, regarding the ‘Rises Over Japan’ bonus DVD…not a bad idea, but again, just rehashed footage already available. Unless it is the Whole Show, I am not interested. Surely there is some concert footage somewhere Other than that terrible performance. Nothing New? What’s the point?


  49. 49
    Crimson Ghost says:

    If you don’t have the best version of ‘Rises Over Japan’ then you can say its a terrible gig, but thats what good quality versus bad can actually do. The good version seems like watching a completely different show and anyone who has seen the difference will tell you it was not a bad gig for mkIV standards. Seriously, its pretty good and exciting to watch when you can actually SEE IT! Starting properly with ‘Burn’ helps matters too. I would safely assume that if they do release it they will use whatever tape they used to make the Lazer Disc version, but I hope they rearrange the tracks to make run better. Most versions going around are on bootleg DVD transfered from VHS, and doubtfully a pristine copy at that… I have one and believe me the LD version smokes it simply because you can see it, the film is not dark and its much clearer.

    I’d of course like to see the rest of the video footage but to my knowledge there is none, but of course there is audio. If it does exist by chance because they recorded anyway, even though it was intended to be a short promo like it remains to this day, then Warner either has the footage, or Klinger or Birtch, but it isn’t likely, therefore I say it simply doesn’t exist.

  50. 50
    purplepriest1965 says:

    Hi Tracy


    I ll try to look that up somewhere.

    Luckily enough my ears are still allright but that has also, IMHO, to do with the fact that I NEVER use a headphone and try to to use earplugs when seeing a loud gig.

    I like to shoot someone but I have not come that far yet….

    This Time Around is much better thatn Last Concert In Japan , it has lots of plusses but in the shrieking department GH is a real bad part of the recording.

    Still I know what Larry means with the plus of SEEING it too.

    I would not mind to see and have more footage of EVERY incarnation except probably for the last ones…..

  51. 51
    Jerry says:

    Re; post 27, Martin Birch has retired and from what I understand spends most of his time on the golf course! I called him a few years ago in the hope for an interview but he wasn’t interested.

  52. 52
    purplepriest1965 says:


    Being more enthusiastic about golf instead of talking a REAL afficianodo about things Purple, what does that say?

    Then again, as I said some days earlier, from a reliable source I understood that THS headquarters was more interested in doing other things than listening to the LIVE Bologna broadcast of late….
    What does that say?

    Even I did listen live, not later……

    More understandable was my move in 1993 to go to the ticketoffiche in the middle of the night for the sale of The Battles Rages On Tour over here.

    Situation being that I had the flue, dragged myself up there with a selfmade bottle of coke and rum and feeling emberassed that I was the only one for many hours to come….

    In 1987 I stood as one of the first in line for a HOBL tour show ticket on THE BRIDGE of AHOY……people over here will know what I mean…., in the freezing cold and snow…..

    My feet did hurt like hell, SO COLD!!!! but how warm I felt leaving the line with 6 tickets and relieving myself in the snow……

    Travelled back home to find out that a 2nd show had been added, just when I was coming alive again.
    That 2nd show became the FIRST gig they did here and was awesome.
    The first show became the last night over here and was awful.

    Deep Purple.

  53. 53
    purplepriest1965 says:

    UPDATE concerning The origin of this thread………..

    Maybe I m up to speed but I have this……
    This evening I saw on the mighty DPAS site the possibility to listen to 4 samples of the fortcoming RERELEASE.

    I hoped for a bit of the unknown 2 instrumentals.
    Ofcourse, I d like to add…..
    Instead they give us 4 wellknown tracks from Days May Come And Go!!!

    First released alone and later together the Days May Come and the Added Beachwood Drive are not so long ago…..

    I dont hear a frigging difference on the samples!
    Or is it me?

    And NO NEWS about a vinyl release…..

    Sob sob sob….

  54. 54
    purplepriest1965 says:

    Oh Dear…..

    I meant to say……

    Maybe I m NOT up to speed here….

  55. 55
    flasteve says:

    #42 #48

    Tracy summed a lot up.

    I am happy with my Jap CTTB from 90.

    Not sure what else needs or can be done.
    All that “Days May Come stuff”, from Pirate Studios is the “left overs”, nothing left. To my knowledge.

    Those blasting Tommy, bear in mind, Ritchie and Tommy are not apples to apples. I hate that. It like the Clapton vs Page, or Beck vs Page… and so forth.

    Nor were hearing David Coverdale and Glenn Hughes, when Gillan and Glover left. Funny how you hear less bitching in the threads about that.
    Talk about a major sound change.

    Anyway, there exists, somewhere in some company’s master video vault, a DP show shot from Hawaii at the beginning of the 1975 world tour. They used a minute or so in a couple of Purple video releases. Stormbringer, with the original live audio track overwritten by the studio track. Thats lame huh ? Pay the bucks, find it, if the whole show exists, and use it.

    I would rather remember Tommy in a live performance where his playing is good. Not the Japan show, where his almost useless arm (heroin does do this)provides a weak showing.

    For what they are, all the MarkII and MarkIII remasters have been done well. ( I didn’t grab the MarkI)

    Rock ON,

  56. 56
    Bill Wilson says:

    Best remix/remaster I have ever heard! Hats off, Mr. Shirley.

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