and it arrived 2 days early, woot!

Got mine too. The packaging is bigger than I expected.

I like the booklet, it's not CD-sized so it's easier to read in my old age.

Why do I need a lenticular version of the cover? I mean...is that where the extra $ went? That and the packaging, that is. And speaking of, this is a really cool package.

The back of it's a mess though. Disc 3 info on the left, disc 1 and 2 in the middle, and disc 4 on the right.

I'll be ripping the BRD and putting it on my hi-res player for my weekend trip. Still don't know the reason for the 192/24 master used for the CD but the hi-res is 96/24. I know there's not much difference for most people's ears, but it's a matter of you used it here, why not there?

edit: the "exclusive 12" x 12" litho with each Super Deluxe order" is interesting, I guess.

I only went with the 2 disc option. I couldn't spend the extra cash on a bluray I wouldn't listen to and a dvd I wouldn't watch.

Maybe if it had been Pearl Jam.

It's packaged very similar to the solo albums. New artwork pulled mostly from the Hunger Strike video. Looks good. Sounds pretty good.

B+

Damn it. I already tore the package.

I've only taken the CD's out twice - once in the car and once to rip it - and the packaging scratched them.

Got this yesterday. I'm really bothered by the Hunger Strike mix. Eddie not only sounds way louder in the mix, but it sounds like they goosed the EQ right right on that "hungryyyyyyyyy" note frequency. Chris sounds the same volume as before relative to the music but it's like Eddie was 15 feet away originally and now he's singing right in my face, should not be LOUDER than Chris. I also feel like there's unnecessary midrange enhancement throughout, making the guitars and snares sound boxy as shit...same problem I have with the Ten remix and Nevermind remaster, though this one seems to have a bit less clipping as compared to those two at least (Nevermind especially being awful). For an example of albums that don't sound that way, check out Vitalogy and Superunknown, pretty much my references for the pinnacle of rock album production (Presidents of the United States of America and Incubus "Make Yourself" are also fantastic in the production department). In Utero, Pinkerton, and No Code are albums and productions I love but are very "colored" and the production is as much an instrument of the album as the other instruments are, whereas the others mentioned are just in-your-face kick ass dynamic and clear studio efforts.

I feel like I could achieve a better sound overall on TOTD just by enhancing the bass (harmonics plugin, not graphical or parametric EQ) on the original CD and applying some multiband compression to limit it a bit to make it closer to modern standards. I did that with the unreleased "Brother" track (also a little more stereo separation there) and it turned out really nice.

FWIW it's worth, I've worked in the same room where Pinkerton was recorded, and I would say that recording is VERY raw -- that is exactly what the room sounds like, and all the recordings I did there had the exact same sound, particularly on the drums. I get what you mean by "colored," in that the sound of that room is vital to the overall impression of the record. But it really is just the sound of the room -- set the mics up in the right places, let the band do it's thing, make sure the levels are good, print it. I'd say in Utero is similar, as Albini takes the same sort of approach, though the mixing definitely hyped some elements.

For what it's worth it's worth

I wanted to double down on the worth.

Mail Innovations...

Really cool interview with the director of Hunger Strike. Its really nice to hear about the two band´s friendship and to see that after so long their relationship is maybe better.

Man, these shows will be special.

http://www.stereogum.com/1902156/qa-hunger-strike-director-paul-rachman-looks-back-on-25-years-of-temple-of-the-dog/franchises/interview/

I was miffed by the Hunger Strike mix as well, it really kind of cut the balls off of one of the most recognized choruses of the 90s. For the most part I was okay with the rest of the mixes though. I say this as someone with absolutely no experience in the production/audio engineering world.

On the plus side, I really have enjoyed the alternate mixes of Say Hello 2 Heaven, Wooden Jesus, and All Night Thing. Haven't jumped into the other demos and outtakes yet....

nice interview

interesting description of the eveolution of the gloryhole scene - i had heard about that, but now it makes a lot more sense

maybe the stage setup for the tour will have a tall weeds, woods, and bonfire theme

For folks who buy these deluxe reissue things: How many have been done right? Like, how many times have you said, "Wow, that was perfectly done. I know I got the original album -- which is still far and away the most important part of the release -- for $10 back in 1995, but man, I really am glad I paid an extra $50 for a CD full of demos and alternate mixes of these songs that I've been content to listen to as is for years."

Every year my hatred of these products runs deeper. I am consistently stunned that people continue to spend money on them.

I'm holding out for a Wellwater box set

I got all the demos and alternative mixes for only 20 bucks.

Worth it?

I mostly agree. These things are label cashcows. Ive read somewhere that about 40-50% of the sales nowadays comes from these deluxe anniversary remixed remastered collector editions. If you're a fan it can be fun though, but most of the times its not. I'm a huge Zeppelin fan but these 2014/15 deluxe remasters were utterly disappointing.
This 2CD TOTD set is just ok, the 100$ superdeluxe set is just stupid. Can someone rip the DVD for me ? . The PJ ones are just so-so, mostly lacking in unreleased content. However, Im really looking forward to that MLB boxset, that one has so many unreleased songs!


For the analogue age? Stick with your 60s/70s masters. Digital age? Stick with your 90s masters. Remasters are almost never better than the original ones.

That cartoon sucks.