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Dobrynya Shiryaev
Dobrynya Shiryaev

What You Need to Know About The Cure's Disintegration Remastered Deluxe Edition 2010 FLAC

A close look at the audio of Disintegration reveals that the band spent only six hours in the studio, and the difference in production value between original and remastered versions is negligible. The result of this is that the original mixes have kept their trademark clarity while never losing their pop sensibility.

The Cure Disintegration Remastered Deluxe Edition 2010 FLAC

It is doubtful that at this point the original versions are still in print. While there is a legitimate argument for the presence of original copies as a collectors item, there should not be a need to take advantage of such pristine sound. For 90 dollars, you could put just as much time into Jupiter Ascending as you could into the Cures Disintegration. Download:Mega 1Fichier UptoBox 2010 - 3x3x3 (Disintegration Deluxe Edition Sampler) (US promo Rhino PRCD-400198)

All loudspeakers behave differently, though. Many are designed to reproduce some level of sound pressure, and that doesn't always mean that a given loudspeaker is able to reproducemaximal levels perfectly. If we look at the waveform corresponding to the remastered edition of 'Killing An Arab' (c), we may notice that the peak of that waveform is compressed by 4dB in the remastered edition. If the intention of the remastering was to reach that level, then the engineer should have taken care to add a special lowpass filter before the peak to avoid such distorted peaks. He would have effectively changed the first loudness paradigm into the second, and adjusted the faders accordingly. Is this conclusive proof of potential distortions? Yes, but it is way too long to go through all of those compromises: you can be sure that the engineer did his or her best for the good of the song, but that there is no plan B. It should also be kept in mind that more than 10 percent of the loudspeakers tested could not correctly reproduce a post-peak sample of a3*102 dB. It may seem acceptable to tweak a bit, but because of the lack of plan B, engineers have to be especially careful in any case where the first loudness paradigm may be applied: limiting the sample level too much may indeed kill the song. My advice would be to decide how much you want to retain (audibly) of the analog sound, and then adjust the loudness accordingly. For me, I enjoy the song much less when it's played with more aggressive dynamics.


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