Last night, as soon as I finished Record Machine before bed, I attempted "Dream On". Might give that a go again. I was far too tired last night to keep going, and I'm surprised you guys are enjoying Record Machine. I believe I almost messed that up, but I'm so glad I made the decision to make two mixes rather than the one.

I actually like IIHAG even in its current form, but would be very interested in hearing whatever you could try with it. And btw the other two mixes are great, specially the EOTR one

This took some work! Excellent.

I present to you, "Stop the Clocks".

If there was ever a way to butcher 'Stop the Clocks' and have it not be as clear as I could get it to be, then it might be this. Judge for yourself, though. But this is as panned, remixed and crystal clear as it can get for me, because Sardy's mix was always flat at least to my ears, and surely, just maybe... yours, too.

The instrumental was not the basis for this mix, if you can believe that. I went ahead and used the choir that was louder in the Instrumental mix to bring a more 'celestial' feel (one of you said that 'Record Machine' was like that? Or maybe you said 'Everybody's On the Run' is?...) to the track.

A lot of noise profiling happened with this one, 1) to bring the vocals out a little and at the same time, sustain them so as to not drown them. So if they sound drowned out, it's because 'noise profiling' is a b*tch. 2) to bring out the choir.

Then once again, to keep Strangeboy's solos somewhat in this mix, I had to keep using the album version this time around for those two solos in the bridge and outro solo. Because the instrumental just did not have the two solos played by Strangeboy. There is surprisingly a lot of fuzz in the first squealing solo he did in this one.

To keep everyone interested, I decided I'd do something cool for this one. To give the track a more "Sessions" feel, I added in the shouts from the men in the choir, "Stop the clocks! Stop the clocks!" in the end that can be found in the 30 minute documentary, 'It's Never Too Late to Be What U Might Have Been (The Making of Noel Gallagher's High Flying Birds)' from Noel and company. They are just faint enough that if you keep on listening, YOU WILL hear them shout it.

Enjoy.

I keep listening back to it, and it keeps getting lower. But then I remember my PC is somewhat of a little sh*t and tries to auto-lower everything coming through my headsets and speakers. But thank you very much, Crimson. I appreciate that. 

WOW!!! That's fucking amazing! It's like you sonically wiped an inch-thick layer of dust off a picture frame. The acoustic guitar sounds so clear.

the original is a much more cohesive mix than yours.

i like that you tried to bring out the clarity in the strings and other parts and make the mix less dense, but ultimately that can also be an amateur mistake, trying to make everything too audible and have clarity, thus having instruments fighting each other, rather than looking at the bigger picture and serving the song by mixing in context.

Your mix does have some good ideas, but lacks the glue and cohesion of the original, even if that isn't great itself. it's like you ignored the arrangement of instruments and dynamics and just tried to make everything more audible.

That said, i think the initial production isn't too good anyway, so there's not a lot to work with using those stems..

Not at all. if you make element have too much focus and clarity and sound almost too good individually, thats when you get instruments fighting each other and get a less cohesive mix. if you solo a lot of instruments in a good mix, quite often they don't sound great solo'd, sometimes bad, but perfect in the context of a mix. here it sounds like they have tried to make every element sound good individually, but not focusing on the bigger picture.

i never said it was bad, in fact its pretty good, i just don't hear a very together mix like the original. it lacks the glue of a good mix, not that the original is much good but it sounds together

But as i said anyway, the original stems are not great to start with, so its like fighting a losing battle anyway.

So a little update.

I've been messing around with an old technique on making some tracks sound A LOT better. I've already "tested" it on a bunch of demos rather than making small 'volume' + 'bass & treble' adjustments. Let's just say, the demos from Faster Than the Speed of Magic are a lot less stuffy when I apply this technique to them.

Here is an example of the "Soldier Boys and Jesus Freaks" demo:

Sounds great! Would it be possible to use this magic to make Don't Believe the Truth listenable?

Since this is a Christmas day, I figure I might as well let you all know... and it's pretty obvious now what's been going on in this thread.

'Noel Gallagher's High Flying Birds' will receive a full remix treatment by myself, and hopefully, it will get done with time. I am not working by a specific time-frame and I have no deadline to work by, but it is being done. The remixes will be made available in a 'Sessions' collection entitled, "The High Flying Birds Sessions".

NGHFB Remix/Sessions:


    - "Alone On the Rope" will be available in it's correct and full quality, just as "A Simple Game of Genius" would be. The track has been pulled from the MOJO compilation that was released a while back. That version is special because it was never retouched for the compilation. That mix from the MOJO compilation is the one that was released to that region specific Amazon retailer site. To my knowledge, you don't compile something and expect to remix or create a new sequence around it. That'll only mess up the rundown time (duration of the track). What I'll be doing is simply leaving it alone, because it is perfect the way it is.

On that note: "Alone On the Rope", "Everybody's On the Run", "Record Machine" & "Stop the Clocks" are finished at this point for the sessions (what I've been calling this for the past two months).

    - Every demo that has surfaced, including the demos from joekim and company at oasisarchives, will be included and will receive a restoration treatment. 

    - Every instrumental that has surfaced will be included, but I am not keen on whether or not they will actually make it, as once again, the one and only source is non-existent, or is taking a 'fecking' long arse holiday. I have literally just been working with what I could find. "Stop the Clocks", "Everybody's On the Run" & "(I Wanna Live In a Dream In My) Record Machine" were all basically miracles, and have shown me that this can be done to a great, positive response from you guys.

I really hope I can get some help from other sources as well, or just get a reupload of the instrumentals if possible. Drop me a PM for sources as I really do need the instrumentals for the album. That'll speed up everything for sure. But anyway, before this gets too sappy, I just want to say thanks for the great responses guys. The positive reactions to the remixes are definitely reassuring. I was testing the waters so to speak, and this has actually been planned for most of 2018. I only just got the ball rolling before the end of the year as a few things in my life have come to surface and I spent most of the year dealing with them. But alas,

...how does the saying go? Thy will be done.

When I took away quite a bit from "Part of the Queue", I discovered that somehow it had hidden the beautiful percussion you could barely, just barely make out. Piano at the end of the track is more wide now. Bass was double layered. Vocals were also thickened to not just the center channel, but left and right channel because of these double layers. At the end of the track, you could make out Zak thumping--THUMP, THUMP, THUMP, THUMP, THUMP(!). That was new to me, I had never heard that before.

Oh, and it was also compressed, and amplified to shit.

"Part of the Queue" when you take away a few bits here and there is essentially just stripped back. It's actually much more better for it.