Music Disc Reviews

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Billy Altman  |  Feb 03, 2006  |  0 comments
Kenny Chesney The Road and the RadioBNA
Music ••• Sound •••
Rob O'Connor  |  Jan 24, 2007  |  0 comments
The Sweet Escape Interscope
Music •• Sound ••
With five producers spread among 12 tracks, Gwen Stefani looked to diversify on <
Parke Puterbaugh  |  Oct 03, 2007  |  0 comments

Ken Richardson  |  Feb 09, 2009  |  0 comments
Rhino
Music •••• DVD-Video Surround Mix •••• Extras ••••
In the afterglow of the heyday of multichannel music, it's getting harder
Billy Altman  |  May 09, 2006  |  0 comments
Other People's Lives V2
Music •••• Sound ••••
Given his daunting back catalog, it's understandable why Kinks leader Ray
Ken Richardson  |  Mar 12, 2007  |  0 comments

Mike Mettler  |  Apr 04, 2011  |  0 comments

In anticipation of the 30th anniversary reissue of Rush’s truly seminal Moving Pictures as both CD+DVD (April 5) and CD+BD (May 3) deluxe editions, with PCM 5.1 and DTS-HD Master Audio 5.1 surround-sound mixes by Richard Chycki, I’m dipping into my personal Rush interview archive to present a truly exclusive, incremental look at how the band’s attitude toward bringing its vaunted studio material into the surround-sound arena has literally changed from “no” to “go” over the last decade.

Ken Richardson  |  Nov 12, 2007  |  0 comments

Mike Mettler  |  Sep 18, 2012  |  0 comments

“Anything that we sit down in, we’re good at.” This is Steven Wilson, 5.1 mixmaster nonpareil, discussing two of the gold medals that Great Britain won in the Summer Olympics — one in cycling, the other in rowing. If there were Olympic medals given for achievement in surround-sound mixing, then Wilson would own more golden hardware than Michael Phelps has collected a dozen times over.

Ken Richardson  |  Sep 14, 2005  |  0 comments
The Woods Sub Pop
Music •••• Sound ••
Whereas All Hands on the Bad One was a "crossover" album to love and <
Billy Altman  |  Jul 05, 2006  |  0 comments
Stadium Arcadium Warner Bros.
Music •••• Sound ••••
Topping two hours, this double CD is almost too much of a good thing - espe
Billy Altman  |  May 30, 2007  |  0 comments

Robert Ripps  |  Jun 22, 2011  |  0 comments

Back in September 2002, I interviewed Michael Tilson Thomas about the launch of a bold new project with the San Francisco Symphony: a complete cycle of the Mahler symphonies to be released on hybrid multichannel SACD via the orchestra’s fledgling in-house label, SFS Media. At the time, Thomas already had clearly formed ideas about the sound he wanted:

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