I suspect this preference will be system dependent: my system is not bright or edgy at all, I could see how with a brighter system one might prefer the MoFi. The MoFi is smoother and rounder, the DSD has more low level resolution and feels more dynamic. Why make us jump through hoops to get a SACD ripped? If someone was smart they would sell legal vinyl rips as well(unless its a legal mess)!Īfter much careful listening, I prefer the DSD DSOTM (DSD rip) to the MoFi (gold disc rip). I totally agree that the labels should offer these files for download.
I also have a rip of the MFSL UHQR which is incredible. I know the EQ curve is off(Mikey Fremer told me so!) but I still like the bigger bass. I still like the MFSL gold disc the best. The Blu-ray is not that big of a difference to me. That being said I do have files of practically every DSOTM. I had read a while before they release everything that it was going to take place but of course nada.
The final note sustains for about 8 seconds or so as on the album, but it is missing the sound effects from the beginning of “Vera”.I still can't believe Pink Floyd didn't jump on the HR download path. Nobody Home - Essentially the album version with a clean outro. Roger Waters’ echoing vocal of “…we fall, we fall, we fall….” fades out just before the opening sound effects would have started on the album version of “Nobody Home”. Hey You - No different than the album version. At the end of the track, the echo and reverb of Roger Waters’ vocal “Why are you running away…?” sustained for about 3 seconds longer than the album version. The first 6 seconds of the track was clean and lacked the dial tone sound effects of the album version. The opening synth was unobscured and had a faster attack that faded in quicker. One Of My Turns - A clean version of the track with nothing obscuring the beginning or the the end. It also lacks the Roger Waters scream during the guitar solo that appears only in the rare 7″ single version. The outro is clean, lacking the dialog of phone call back home on top of the music. Basically, it has the same running time as the original LP version but the pick-up note at the beginning lacks the tiny bit of crossover sound from “Empty Spaces”. Young Lust - The track starts with the same the pickup beat and goes straight into the vocal as the album/CD release. On this LP, the song fades out completely at the same spot in the music where we would have heard the first notes of “Empty Spaces” on the CD. On the album/CD version, sound effects of birds and bomber fleets could be heard until the synths kicked in. Goodbye Blue Sky - The acoustic guitar intro is clean for about the first 9 seconds and lacks the bird tweeting and other pastoral sound effects at the beginning of the track. It has the same ending as the single version - a fade out towards the end of David Gilmour’s guitar solo. This version lacks the 9-second extended instrumental intro of the single version. What was different about this disc from any other? Here’s the track-by-track rundown:Īnother Brick In The Wall Part 2 - The “hit.” Nothing special here. Expect to spend at least $200 USD (usually much more) when you find one. Currently, it is one of the better Pink Floyd vinyl rarities out there. One of the FM stations I worked at in Los Angeles back in the day had a copy of this beauty. A shorter overall running time allowed the vinyl to to be mastered with deeper-cut grooves for better sound quality.Īmong the cool stuff contained in this sampler’s eight tracks were a longer version of “Run Like Hell” with a clean opening and cold fade without crowd noises, a version of “Young Lust” with a clean outro that’s missing the phone call dialog on top of it, and a version of “Goodbye Blue Sky” featuring a clean intro with no sound effects. Rather than blended track-to-track, the album was banded with gaps between the tracks for precise cues and easier programming. The album featured extended versions of several tracks, along with clean intros and outros. Pink Floyd – Off The Wall: Special Radio Reconstruction is a rare 1979 US eight track, radio-friendly white-label promo sampler LP for The Wall album that was distributed mainly to radio stations in 1979 and the early 80’s.