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my bloody valentine reissues

Elephantears said:
But none of these are new, just reissues of the reissues from 3 years ago. Very much worth getting though if you missed them first time.
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Seems like they were only available from the MBV website for that first run, the new Domino contract seems to have brought about a flurry of activity! Certainly very nice pressings, I think they did them at Optimal. I only heard about these as I subscribe to Norman Record's newsletter mailings (Norman Records highly recommended by the way!)

springer said:
That's my point. I'm not sure there are two versions. Both standard and deluxe vinyl releases have 'fully analog cut' on the hype sticker - I pored over both versions in my local indie this morning. Oh, and catching up this week's YT video from Mike Cornick at InGroove, he also says both versions are analogue.
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Strange, did you buy one? Info is detailed inside the gatefold on my deluxe.
 
I guess it’s likely that the hearing of pretty much everyone involved in these has declined somewhat…thus making it all a bit crazy really.
Mine arrive Monday…
 
Loveless is great, MBV is good, don't bother with This is My Bloody Valentine. Isn't Anything, Ecstasy and all the early singles are fantastic!

Great to see these being re-released and to see the band on Tidal etc as the originals were very limited pressings and now very expensive to buy.
 
tedmanzie said:
Seems like they were only available from the MBV website for that first run, the new Domino contract seems to have brought about a flurry of activity! Certainly very nice pressings, I think they did them at Optimal. I only heard about these as I subscribe to Norman Record's newsletter mailings (Norman Records highly recommended by the way!)



Strange, did you buy one? Info is detailed inside the gatefold on my deluxe.
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Just the deluxe I'd pre-ordered, but both hype stickers were identical, bar the extra 'x' on the cat number.
 
The Isn’t Anything is quite different to my 2012 CD, instruments are pulled closer to the centre and the high frequencies of the white noise are tamed, result being that imaging is more solid and everything is much more listenable. My vinyl setup at the moment is actually harder in the treble than my digital, so difference in a better balanced system likely to be more pronounced.

Haven’t compared Loveless to my original vinyl copy yet.
 
Interesting interview with Kevin Shields from 2017.

Loveless was recorded on analog tape, and we mixed to analog tape, but we did all of the post-production, all of the editing, and all of that stuff that makes it Loveless—the way it all flows—in the digital domain. Loveless is made up of all the essential songs and bits that link them together, and we discovered that it all existed essentially on tape. So the challenge was to figure out a way of putting it back together again, including the songs that were manipulated digitally, but in the analog domain.

Traditionally with analog tapes, if you want to edit something together, you’ve got to basically find the spot by rocking the tape back and forth and splicing it and sticking the two pieces of tape together. But the crossfades that we had on Loveless were technically impossible to do in the analog domain because a lot of them were very short, yet way too long to actually recreate with normal editing techniques.

So, to get the things fading between themselves in that seamless way that they did in the digital domain, we had to figure out new ways of doing edits. We couldn’t use an edit block, which is this metal thing with various angles on it, because the edit block positions weren’t anywhere near what we needed to achieve. So we were actually building our own edit blocks. We had an engineer called Andy Savours who basically spent a year of his life working out these mathematical formulas and measurements on how to do this. Eventually, things started to work.

We came up with these really crazy edits that looked like they were going to fall apart—when we played them in the mastering places, the guys there were looking at them just thinking, How is this tape even sticking together? Literally. Physically. What are the physical limits of what you can do with a tape? When it comes to taking master tapes and doing crazy edits on that, I think we’ve done things that nobody’s done.

https://pitchfork.com/features/inte...-new-loveless-vinyl-remaster-talks-new-album/
 
springer said:
That's my point. I'm not sure there are two versions. Both standard and deluxe vinyl releases have 'fully analog cut' on the hype sticker - I pored over both versions in my local indie this morning. Oh, and catching up this week's YT video from Mike Cornick at InGroove, he also says both versions are analogue.
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Just watched it - he's referring to the MBV album in that video, I think it's maybe only Loveless which has the analogue version and the digital version available?

[edit - reading a bit more info seems like also 'isn't anything' also has a digital version cut to vinyl, whereas MBV is definitely both vinyls cut from analogue tape]
 
tedmanzie said:
Just watched it - he's referring to the MBV album in that video, I think it's maybe only Loveless which has the analogue version and the digital version available?

[edit - reading a bit more info seems like also 'isn't anything' also has a digital version cut to vinyl, whereas MBV is definitely both vinyls cut from analogue tape]
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That's true, but I definitely held deluxe & standard versions of Loveless in my hands yesterday, and both had identical hype stickers with the 'fully analog cut' reference on. Only difference on the sticker was the 'x' on the end of the cat number on the deluxe.
 
Got my "fully analog" Loveless on Friday. I've enjoyed it more through £10 computer speakers from Wilko. Just ordered a new amp that alledgedly according to this forum should be a massive improvement. If Loveless and certain other records that discogs people say are "amazing pressings" still sound a bit pony then I might give up on vinyl. Rotten hobby when you don't get it right over and again, far too stressful and a money pit. Weirdly just about every jazz album I've got is mind blowing on my system.
 
RobGordon said:
Got my "fully analog" Loveless on Friday. I've enjoyed it more through £10 computer speakers from Wilko. Just ordered a new amp that alledgedly according to this forum should be a massive improvement. If Loveless and certain other records that discogs people say are "amazing pressings" still sound a bit pony then I might give up on vinyl. Rotten hobby when you don't get it right over and again, far too stressful and a money pit. Weirdly just about every jazz album I've got is mind blowing on my system.
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Did you crank it?

This is music I know chiefly from blasting it through a cheap music centre: it's been weird to hear it through a setup that I've put together mostly to listen to jazz. Isn't Anything has fared better than Loveless, for me: I think the latter would need to be really loud through my speakers, and my ears are no longer able to take that kind of thing.
 
Just listened to Isn’t Anything vinyl on headphones. Sounds bloody amazing! Only heard CD reissues before though so can’t compare to originals…
 
I've now cranked Loveless just a little and it sounds excellent. Compared to original vinyl the bass seems better defined, with a fair bit more heft and there's less HF sheen. I mean the album's mostly sheen but there's less of it on the vocals now. Sounds really solid.
 
gustav_errata said:
I'm kind of disappointed that the CDs didn't come with downloads. Sure, I can rip them at 16/44.1, but I don't see why that would be a reason not to offer downloads on top.
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If it's any consolation, as well as the vinyl not turning up yet I am also not able to download from the mbv store. I just get a download failed please try again message (which I have done, in multiple browsers on multiple machines, same message each time).
 
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