The O'Jays - Ship Ahoy[SACD rear channel configuration corrected]

The eighth album by Philly soulsters The O'Jays is an interesting blend of the romantic with the politically and socially conscious.

Although it was "tweaked" for 5.1 surround, the SACD was based on the original quadraphonic release. From repeated listening to the mix as presented on the SACD it appeared that like the SACD release of Deep Purple's Machine Head the rear channels of the original quadraphonic mix had been reversed. This channel reversal was most evident in the opening sound effects on Track 2 and the bass guitar on Track 5 which when properly aligned travels in a circle.

This conversion has been "untweaked" back to the original four channels with the rear channels as presented on the SACD swapped over to restore the original quadraphonic mix configuration.
Source: SACD

Converted to: DVD-A MLP 24/88.2, DVD-V DTS 24/48 & Dolby Digital 24/48

The O'Jays - Ship Ahoy[Original SACD channel configuration]

The eighth album by Philly soulsters The O'Jays is an interesting blend of the romantic with the politically and socially conscious.

Although it was "tweaked" for 5.1 surround, the SACD was based on the original quadraphonic release. From repeated listening to the mix as presented on the SACD it appeared that like the SACD release of Deep Purple's Machine Head the rear channels of the original quadraphonic mix had been reversed. This channel reversal was most evident in the opening sound effects on Track 2 and the bass guitar on Track 5 which when properly aligned travels in a circle.

This conversion has been "untweaked" back to the original four channels with the rear channel configuration as originally released on the SACD.
Note: This is the same conversion that was originally posted in November 2014 and has not been changed.

Source: SACD

Converted to: DVD-A MLP 24/88.2, DVD-V DTS 24/48 & Dolby Digital 24/48

Lou Reed - Metal Machine Music

Released in 1975, the fifth solo album by Velvet Underground founder Lou Reed is considered to have been either a joke, a fulfillment of a contractual obligation, or an early example of noise music. The album features no songs or even recognizably structured compositions, instead consisting of just over an hour of modulated feedback and guitar effects, mixed at varying speeds.

Originally released on vinyl as a double album, it may potentially have been intended to meet a contractual obligation as artists at that time were sometimes contracted to release a specific number of recordings, and double albums would usually count as two releases. Although the original release showed the running time for all four sides as exactly 16 minutes and 1 second the actual times vary, although the total time does add up to 64 minutes and 4 seconds. It certainly wasn't a farewell release to end his contract with RCA as Lou would release Coney Island Baby on that label the following year.

In response to claims the release was a joke, Lou has insisted in interviews that he was serious when he created the work - but that he was also very stoned. The fact that there was a quadraphonic version released suggests that the record label supported the release at the time. I have read reviews that have claimed the work is largely in the key of B but I am not musical and not able to confirm this claim.
Source: Blu-ray

Converted to: DVD-A MLP 24/96, DVD-V DTS 24/48 & Dolby Digital 24/48

Ray Thomas - From Mighty Oaks

The debut solo album from The Moody Blues flautist and vocalist was the second side project recorded during the band's hiatus after releasing Seventh Sojourn to be recorded at the band's Threshold Studios following Justin Hayward and John Lodge's Blue Jays collaboration and preceding Graeme Edge's Kick Off Your Muddy Boots. As was the case with Blue Jays release, From Mighty Oaks took advantage of the studio's quadraphonic mixing set-up at the time of recording, but unlike the Blue Jays mix which had a limited release on reel-to-reel tape, the mix for this album was not released until a 2011 re-issue. When it was finally released, the quadraphonic mix was only available in lossy Dolby Digital on DVD-Video, and like the SACD (and later DVD-Video) releases of The Moody Blues quadraphonic mixes it was released in 5.1 surround with the addition of derived Centre and LFE channels.

For this conversion I deleted the added Centre and LFE channels to return the album to its intended quadraphonic configuration. Since the source material was lossy to begin with, the DVD-Audio component is a lossless copy of lossy material. Consequently, the DVD-Video (DTS and Dolby Digital) components are lossy re-conversions of that lossy material included to allow me to demonstrate the album in it's original configuration to friends without DVD-Audio capability.
Source: DVD-Video

Converted to: DVD-A MLP 24/48 (from a lossy source), DVD-V DTS 24/48 & Dolby Digital 24/48