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Universal 5.1 Remixes for Classics at Angel Mountain Productions
For decades, Universal Music has served as the home of countless musical legends, building a catalog that contains some of the most revered recordings in the annals of popular music along the way. In recent years, the label has embraced both its rich musical heritage and cutting-edge modern technology by re-issuing some of its classic albums and modern hits in the 5.1 surround format. During the past few months two of the most renowned albums in the Universal library, Marvin Gaye’s Let’s Get It On and The Allman Brothers’ Live at the Fillmore East, have both received 5.1 remixes at Angel Mountain Productions & Sound in Bethlehem, PA.
The 5.1 projects were spearheaded by Universal’s Senior Director of Studio Operations East, Jeff Glixman. Paul West, Universal’s Senior VP of North American Studio Operations, had a vision that Universal Mastering Studios (Edison NJ, Los Angeles CA, and New York City), should have the ability to service the needs of all of Universal’s label groups. Given the need for a large format 5.1 mix room, as well as certain technical/production services, Glixman forged the relationship with Angel Mountain Productions.
A veteran producer with an impressive list of credits including Kansas, The Georgia Satellites, Black Sabbath and Yngwie Malmsteen, Glixman knows exactly what he wants from a studio facility. “I have made records in over 200 studios and Angel Mountain is right there with the best,” he says. “The equipment and the sound of the room are always an important consideration, and Angel Mountain certainly delivers in that regard. However, the most important aspect to me is the people, and the staff at Angel Mountain not only performs to the highest professional standards, but interfaces transparently with my staff and me.”
The first project that Glixman brought to Angel Mountain was the 5.1 mix of Marvin Gaye’s seminal Let’s Get It On. Glixman and Angel Mountain’s chief engineer Carl Cadden-James took great care to stay true to the original record while shaping the surround mix, even going so far as to fly in the album’s original engineer Cal Harris to join the team. “Harry Weinger (Motown re-issue Producer/Vice President of A&R) and I wanted to take the original album and turn it into 3-D, so there was a lot of referencing back to the original mix,” Glixman remembers. “We found a lot of previously undetectable glitches that became apparent as we started repositioning items across the 5.1 spectrum. Carl & I worked to correct these glitches when necessary, and then replicate the original mixes in the 5.1 landscape. The end result is much cleaner and more listenable than the original. I think it puts the album in broader perspective.”
Fueled by the success of the Marvin Gaye project, Glixman came to Angel Mountain with the 5.1 mix of the Allman Brothers’ Live at the Fillmore East, one of the most legendary live albums of all time. The overriding goal of Bill Levinson (re-issue Producer/ Vice President A&R) and Glixman was to preserve the feel of the original record when making the move to 5.1. Glixman and Cadden-James only retained the crucial elements and ambiance of the performance, but also restored the feel of a continuous live concert by eliminating the fades that appeared between each song on the original mix. They also sharpened the focus of the sound, particularly the legendary guitar interplay between Duane Allman and Dickie Betts.
“There were several open mics on stage that really detracted from the image of the recording and the tonality of the guitars,” Glixman relates. “Carl and I were able to take advantage of automation and eliminate those sound sources from the panorama, which really improves the mixes. With this mix we are able to provide guitar tones that are much truer to what Duane and Dickie played, as well as compensate for limitations in the original recording. I’m very, very pleased with the way it came out.”
Both of the mixes were done in Angel Mountain’s “A” room, which features a Solid State Logic XL 9000 K console. The console proved to be a vital ingredient in bringing a new dimension to these recordings. “The XL is my console of choice,” says Glixman. “I like the ergonomics and the sound. Certain consoles require a lot of outboard gear to achieve the sounds I want, but the XL just sounds terrific. It’s very versatile – it’s transparent when I want it to be, but if needed it can get aggressive sonically as well.”
Each album will be initially released as an SACD hybrid featuring SACD 5.1 and SACD stereo, with redbook audio on a second layer for listening in a standard CD player. The SACD releases are slated to be followed approximately 90 days later by DVD-A versions. The success of Universal’s 5.1 recordings to date, coupled with a virtually unlimited back catalog, implies that many more mixes of this type are forthcoming. Glixman plans on returning to Angel Mountain for future projects, including the Allman Brothers’ Eat A Peach, which is in the works. “From a 5.1 and large-format mixing standpoint, I consider Angel Mountain my home studio,” Glixman concludes. “Different places work for different people, and this one works for me.”
Angel Mountain Productions & Sound's new multi-room studio complex spans over 18,000 sq. ft. and includes three world class 5.1 audio control rooms, soffitted Quested monitors, and the new SSL XL 9000K mixing console. The facility, built from the ground up with the most painstaking attention to both technical and architectural detail, has already taken its place as one of the largest and most encompassing audio post-production facilities in the country.
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