![]() Gave up trying to mitigate.Īfter finally listening to and appreciating the whole set, the sound exceeds what I expected could happen with the source material. Tried swapping to a Technics SL-1200MK7 + MP-150 (headshell gauge,) still the same. I originally attempted to digitally archive with a Pro-Ject Debut III Carbon + Nagaoka MP-150 (Baerwald.) Noticed the IGD, then tried with an AT VM540ML (Baerwald.) No improvements. Technical info regarding IGD mitigation attempts: Just because the medium is vinyl does not necessarily mean that SE has put the effort into making the audio any better. Tl dr: This is a nice set that I would still recommend any XIV fan to get, but let me be clear that this is a set for SE to sell merchandise. I went as far as swapping turntables and cartridges to try to mitigate the issue, but no dice. I get some pretty mad IGD in “Dragonsong” and “Tomorrow and Tomorrow” due to them being the last track on their respective sides. There are also some unfortunate decisions with track ordering. Here, it becomes glaringly obvious that they just took what previous release they had and slapped it onto vinyl. “Oblivion,” “Shadowbringers.”) If you listen for the cymbals on “Shadowbringers,” you can hear them breaking up really badly. They’re still just as compressed and lossy as any other release (e.g. The tracks that stick out like a sore thumb are the vocal and/or rock-oriented tracks. What I’m suggesting is that “What Angel Wakes Me” has not been remastered in any way, and unfortunately, this is where the issues start cropping up. The vinyl translation has also (subjectively) improved some tracks, like “What Angel Wakes Me,” but I would attribute that more to the characteristics of the cartridge rather than anything else. city-state themes.) I particularly like how my cartridge (Nagaoka MP-150) picks up “Crimson Sunrise,” for example. The orchestrated pieces from area BGM translate well into vinyl (e.g. This set is a very nice collector’s item however, there are places where the audio leaves a lot to be desired. Tomohito Koishi (DIGITAL HEARTS), Ryota Ode (DIGITAL HEARTS) Kento Ise (DIGITAL HEARTS), Daiki Ishikawa Global Community Producer: Toshin MurouchiĬommunity Planners: Kazuyoshi Mochizuki, Takeshi Kato Project Managers: Shoichi Matsuzawa, Masato Tsubaki Lead Story Designers: Banri Oda, Natsuko IshikawaĪrt Team Leads: Shinya Ichida, Yusuke Mogi President & Executive Producer: Yosuke Matsuda General Manager, Media & Arts Business Division: Ruiji Abe Production Desk: Mino Iizuka, Tomoe Saito, Hayato Ota, Midori Kadota, Hikaru Suzuki, Tomomi Matsuo (Office Bolero) Promotion Coordinators: Saki Imamoto Shogo Sugawara, Seitaro Tanaka, Miki Otani, Keisuke Kato, Lisa Harada Production Assistants: Haruka Yoshida, Natsumi Ishihara, Kazunari Hori Production Coordinators: Sara Aizawa, Shohei Negishi, Tatsuya Ueno Package Titles: Michael-Christopher Koji Fox Package Coordinators: Masaki Hishida (Toyokasei Co., Ltd.), Kazuki Okano (Toyokasei Co., Ltd.) Package Designer: Shinosuke Yoshida (Masamune Co., Ltd.) Package Art Director: Ryota Nakazono (Masamune Co., Ltd.)
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