Earlier this year, I mixed Moving Pictures in 5.1 and I am pleased that it was met with very positive reviews. The recording of the Time Machine tour I did in the spring in Cleveland (best … audience … ever!) is now wrapped up and an edited version of the show has since aired on VH1, with theater, DVD, CD and vinyl releases due any time. Amazing to see the band perform Moving Pictures live in its entirety!

Based on the strong feedback from the Moving Pictures 5.1 remix, Universal Records had asked me to remix Fly By Night, A Farewell To Kings and Signals in surround to be included in their ‘Sector’ series of box set releases currently underway. Like Moving Pictures, all the multitrack masters I worked with were transferred from the original analog tapes at 96 kHz/24 bit resolution and this quality was maintained right down to the finished master. Listeners are in for a revelation of new detail for these releases.

James Labrie came over to my studio this spring to record his vocals for the next Dream Theater CD, A Dramatic Turn Of Events. Away from the bustle of the city, the remote environment really helped our focus and I think James delivered some of his best vocal performances. John Petrucci produced the project and came up to the studio to oversee our progress (sorry ’bout the hot sauce there, John!).

The new DT album has met with critical acclaim and so has their tour to date (much, much more to go!). I had the opportunity of seeing the band at Massey Hall in Toronto and spending a bit of time visiting with John Petrucci and James Labrie, including congratulating new DT drummer Mike Mangini on his gig. Thanks to Dave Doria for the JLB pic.

October 5 marks the 1-year anniversary that Gotthard’s supreme vocalist Steve Lee lost his life in a tragic motorcycle accident. I am very pleased to hear that my friends in Gotthard have chosen to continue onward and have been working through the arduous task of finding a new voice for their band. Their last studio album Need To Believe is approaching triple platinum in Switzerland.

Currently, Rush, producer Nick Raskulinecz and myself are reconvening to complete the recording of Rush’s next studio album Clockwork Angels. Sorry, no timeline for completion yet …

Follow me on Twitter or on Google+ for random updates.

Be well,

R.

I’ve been getting quite a run of messages via my website and twitter about ‘my work’ on the new album from Prince. So upon doing a search about my affiliation with The Purple One, some really interesting information surfaced. Luckily, everything you read on the net is true!! Whew … LOL. Here are a few of the more interesting net tidbits:

From ‘Karen G’ @ 29-95.com:

“The Tamar cd is pretty great but wait until you guy’s peep the new Prince album!Contrary to rumour it IS NOT called “Welcome 2 America”.
Richard Chycki did some work behind the SSL on the new cd and the tones he got are SIMPLY AWSOME!You can check out some of Richards work on albums by the rock band Rush. I have not heard a Prince record rock this hard ever! The best song on the cd is a funk/rock jam called “Natasha”.
expect this cd in June 2011.”

False, but I appreciate the compliments about the ‘awsome tones’. It sure sounds like I did this gig though with the SSL reference, but it’s not a secret that I’m a big SSL supporter — it’s my fave analog console bar-none.

From Fiovanni777 @ prince.org:

“I’d have to say that the fact that the poster mentions that Richard Chycki was “behind the SSL (console)…” is perhaps indicative that this may be true. When people post falsities, generally speaking, they aren’t even remotely aware of SSLs or Nieves, or nearly anything specific in the audio world. Just sayin’…”

True, but I still haven’t done a session with Prince.

From Kara @ the Seattle weekly blog:

“for those interested,I overheard Richard Chycki(a badass engineer),talking the other night after the HOB show and he said that the new Prince album is complete,Chycki engineered it and it is being billed as a guitar recordIt will be released possibly on the RoadRunner label and the title is supposedly “Black Muse”. just sayin… “

“Rich Chycki — badass engineer” — ha ha. I love that! It has a nice ring to it LOL. Thanks, Kara. Kara must have been in my studio in Toronto, Canada after the Prince HOB show to hear me talking ’cause that’s where I was. I haven’t been to the HOB in a few years. It was probably a pretty smokin’ show anyway.

In short, I’m a fan of Prince’s works but I’ve not had the opportunity of working with the man. You’ve all been duped www’ers 100%. I can’t really think of a motive for the stories and the depth of these fantasies is a bit weird but hey, I appreciate the positivity of the rumors anyway.

Thanks for the heads up on this tweeps. Follow me on twitter here.

Back in the real world, I’ve recently completed recording vocals with James LaBrie for Dream Theater’s upcoming 11th album. John Petrucci produced the album and came up to my studio for the last bit to oversee the process.

The work on Rush live in Cleveland continues.

Be well,

R

I received an email from Sound and Vision Mag editor Mike Mettler who sent me a preview of his upcoming review of Rush’s Moving Pictures 5.1 Deluxe Edition in the Summer 2011 issue of the magazine. With his kind permission, I’ve posted his review below:

Rush
Moving Pictures — Deluxe Edition
(Mercury CD+Blu-ray)
Music 5 stars
Sound 5 stars

*** SOUND + VISION 2011 REFERENCE BLU-RAY ***
Moving Pictures? More like Moving Mountains. This 1981 touchstone ably frames the crafty Canadian trio’s shift from its progressive/hard-rock roots by positioning the new wave and reggae influences even more at the fore. It’s a concise masterpiece that serves as the centerpiece of the ongoing 30th anniversary Time Machine tour, and it’s the star of a brilliant DTS-HD Master Audio 5.1 surround-sound mix on Blu-ray courtesy of longtime collaborator Richard Chycki. Chycki and I first discussed the idea of MP in 5.1 over 2 years ago (plus we dissect it anew on our website), and his work here delivers beyond my dearest dreams. “Tom Sawyer” instantly swaths with its signature swirling Mini-Moog caressing all channels, and drummer Neil Peart’s tom hits are massive and spread wide. Alex Lifeson’s arpeggiated, sustaining guitar solo on “Limelight” dominates the soundstage while Geddy Lee’s Taurus synth bass pedal triggers a punishingly impactful low end. The triangle that Peart taps out the Morse code pattern on during the corner-to-corner intro to “YYZ” is super-resonant, and the recurring breaking-glass effect lingers longer than the original mix before tapering off in the rears. Also deviating from the norm: Lee’s occasionally omnichannel lead vocals and the ostinato reverb on Peart’s kick drum throughout the burbling “Vital Signs.” (And oh, that snare delay…)
Three of-era in-studio videos, liners, and more comprise a taut extras package. It all sets the stage to make my favorite album something I’ll revisit in 5.1 in perpetuity. For those who think and feel, Pictures is perfect on Blu-ray. — MIKE METTLER

A track-by-track interview will be available soon at the Sound and Vision website.

Here is an excerpt from the blu-ray.com interview:

Rush: Moving Pictures Blu-ray, Audio Quality 5.0 of 5
Wow. What more can one say about the quality of at least two of the three lossless tracks offered on this incredible (mostly) audio Blu-ray? Oddly, and for one of the very few times I’ve experienced this in my reviewing careers, the lossless LPCM 2.0 stereo fold down (24-bit/96kHz) sounds surprisingly pallid when stacked up against the two lossless 5.1 tracks. The low end is especially weak on this 2.0 mix, so if you have the ability to experience the surround mixes, by all means, do so. Two brilliant 5.1 options are offered, an LPCM 5.1 and a DTS-HD Master Audio 5.1, and I personally would be hard pressed to find much if any difference between them. Both are presented with 24-bit/96kHz resolution, and the results are, to put it simply, astounding. The clarity and nuance that is now available to listeners of Moving Pictures presents whole new worlds of sonic activity. Multilayer synths which were before just kind of part of a muddled mass now ring out with singular clarity. Some of the sound effects utilized on a couple of the tunes are much more evident than they’ve ever been before. The utilization of the surround channels is brilliantly handled, and longtime fans of this album are in for some revelatory listening, as suddenly they’ll find themselves centrally placed in an incredibly active soundfield. Fidelity is brilliant, with unbelievably facile dynamic range. As the boys of Rush tell us on one of the text entries on this Blu-ray, the increased resolution of Blu-ray audio means that this was actually mixed lower than traditional CDs or SACDs, so they recommend turning up the volume. I second that recommendation.

In the [very kind] blu-ray.com comments above, there is a mention of a ‘lossless LPCM 2.0 fold down’ of the album which I’ve seen mentioned a few times around the web. The fact is, I didn’t do a fold down of the 5.1 mixes as my goal was to not remix the album per se but to present the album in an engaging ‘new’ format (5.1) for the fans. The 2.0 is a hi-res transfer and remaster of the original stereo mixes done in 1981.

Even more reading at Music Tap and at Music Radar, where Alex Lifeson does a track-by-track breakdown and also comments the following on MovPix 5.1:

“… In 2011, the whole of Moving Pictures is being celebrated by Rush on stage – they’ve been playing the album in its entirety since last year – and on a just-issued special edition Blu-ray CD+DVD package, which renders its seven wondrous cuts with a level of sound clarity that Lifeson calls “mind-blowing. Richard Chycki, who remixed the album, knew he was working with a part of history, and he did an amazing job. He didn’t change the record, just expanded on it. When I heard what he did for first time, I couldn’t believe it. It was impeccable. It was Moving Pictures in a 3-D box!”

I’ve also had a ton of email through the site — thanks so much for the kind words, enthusiasm and support!

Finally, the ‘Cleveland DVD’ is also underway. More details to be had when there are some …

Be well,

R

Here are a few reviews and articles about Rush’s Moving Pictures remixed in 5.1 surround:

Sound and Vision Mag – Part 1
Sound and Vision Mag – Part 2
Big Picture Big Sound

David McWilliams @ avsforums.com writes:

“First things first:

Wow.

Having just spent the morning with Moving Pictures on Blu-ray, I can say that they got it right all over again. This fabulous album is brand-new. From the opening synth growl in Tom Sawyer to final fade in Vital Signs you’ll be treated to something that is truly special.

The surround mix is magnificent. Your rear speakers get plenty of work, but never fear; this mix is a companion unobtrusive , there but never obnoxious. It’s aggressive where it fits the music (the opening synths and percussion in Witch Hunt), occasionally playful (the triangle that opens YYZ), but never gimmicky. You’ll be glad if you sprung for matching mains and surrounds.

Those (like me) that have bemoaned the neutered bass on previous Rush releases have cause to rejoice: it’s here in spades. Full, focused, never bloated, and present in amounts that will shake the rafters, we finally have a Rush release that will satisfy even the most ardent Ged-heads.

Neil’s drums are mixed as if watching him play from the audience, with high toms to the right. All the famous jaw-dropping fills that audiences have come to know and love are reproduced here in thunderous clarity. The drum sound is that of the era, of course, and Neil would probably wish that the open sound of his DW kit circa 2011 was captured here, but that’s part of the fun of remixing a classic.

Alex’s guitars are loud and proud, just like a good rock record ought to be. The effect is a full room sound that had this listener grinning for the entire 40 minutes this gem of a record runs.

Run, don’t walk, to your get your copy.”

Glassdream @ Mike Portnoy’s forum writes:

“So when popping this disc in, I eagerly jumped to the PCM 5.1, pressed play…….

WOW.

Unbelievable clarity; this mix gives you uncanny clarity over hearing every instrument effortlessly. The drums pound and crack lively, guitars are always smooth and easy in the mids, the vocals are crisp and very defined (close your eyes, sounds like Geddy is in my basement), and the bass is very easy to hear, full, yet doesn’t overbear.
In short; if this is a taste of what’s to come from RUSH, then I cannot wait for them to give more of this audio gold.
They focus most of everything in the front 3 speakers, but the backs do fill more often than you may realize (a simple ‘get up and walk over’ to your back speakers will let you hear every subtle noise the rears do).
The rears speakers do everything from faint echo sounds, lush reverbs, and delicate ambient noises, and everything in between. When they do use the rears for strong sound effect cues, man do you feel your back get pleasantly surprised because it just all adds to the textures of the music and songs; nothing feels out of place, or forced, or lacking.

I compared the PCM to the DTS master track, and the DTS track has some compression in the tracks: low end gets more push and consistency, the transition of sounds from front to back speakers is more obvious and getting the same kind of consistent push. These are small details and in no way makes the DTS track bad, just when you can opt for the PCM surround, it will always ‘sparkle’ and ‘breath’ just much more than any track with codec compression.

I started comparing the PCM surround track to the stereo 24 bit track, and I’m really happy they included the original stereo mix of the album because “Moving Pictures” has such a unique sound and fullness in it’s aged way that can’t be changed. This 24 bit 96 hz track really lets you hear the original album in sparkling clarity. This is really great for people who love the original album, because even if you don’t go for the surround track, this high rez stereo track is what audio purists hunger for.
This only promotes you to press ‘play’ again more often so you can have a sit down with the album in surround, and then in stereo to hear the pleasant differences.
Makes you really appreciate the work they put in to shining up these tracks for the surround sound environment.

So whether you are a huge fan of the original album, love surround sound, or any reason to pick this package up, just do it.
This is one of the finest surround sound mixes that have come out in a long time and does not disappoint in any way, and like I said before that if this is a taste of what’s to come……..I f—ing can’t wait for more.

I highly recommend this album to anyone who is on the fence for it, this album has been spun 6 times since I got it late friday night, and I can’t get enough of this audio bliss contained on a small blue shiny disc.

If you are waiting for a reason to get this album, I assure you that any reason you make up is a good reason……this re-release is fantastic.”

I’m really digging the ‘wows’ in the reviews . So gratifying to hear people enjoying this …

And thanks to the Rush blogs like rushisaband.com, John Patuto @ cygnus-x1.net and all the others for the kind words and support. You’re amazing!

I’ll try to post more review links as they come in so if you do find something cool online, please send to my ass’t here. Watch my tweets for updates and/or minutia by following me on Twitter.

Off to Cleveland to record Rush and then I begin recording vocals with James LaBrie for the new Dream Theater CD. Can someone tell me WHO the new drummer is?? Sheesh!! …. c ya!

Be well,

R.

Thanks for all the help re: server troubles to those that wrote to me. I had upgraded WordPress to 3.1 and it brought everything to a grinding halt, which explains the lack of updates. But the manual re-install and computer kicking worked great so I think [hope] everything is working. Please let me know if you can’t subscribe or if any other mysterious weirdness is still going on …

So I guess the review pre-release copies of Rush’s Blu-Ray Moving Pictures 5.1 remix/remaster are making the rounds. It’s so exciting to get feedback from people enjoying something that I had so much fun working on. With permission, I’m sharing pieces of a recent email here from a guy that listens to A LOT of 5.1:

… “First impressions: W-O-W. It’s going to be really, really HARD to ever listen to this album “only” in stereo ever again! THIS is what surround was built for, so to speak … Living inside it and loving it! … Everyone needs to know how GREAT this 5.1 mix is!”

… “One of my favorite albums of all time is now better than ever. I look forward to listening to it again and again and getting more out of it each time I do … Each song has its own individual sense of space … It’s such a rewarding listening experience.”

Mike Mettler – Editor-in-Chief, Sound & Vision Magazine.

Planning for the recording of the Cleveland show is well underway, almost on autopilot for the April 15 recording. Any one going to the Ft. Lauderdale kickoff of this leg of the Time Machine tour?

Follow me on Twitter by clicking here.

Be well,

R.

To put rumors to rest, there was no re-recording or performance correction done on the first two tracks and that will continue for the remainder of the CD. The reason ‘new’ details may seem to have appeared in those songs is due to the fact that I listened to the multitracks and interpreted the mix structure without first analysing the original [deliberately] — so tracks either muted or turned down in the original mixes may shine through differently (the acoustic guitars in Earthshine might be a good example of this). As well, the same technical tweaks will continue for the remaining songs and I still will not have a buss limiter on the mix set to stun.

In any case, both the band and I are really excited to re-visit Vapor Trails and hope you’ll all enjoy the re-mix.

Hmmm … a lot of ‘re-’ going on in this blog posting.

Enjoy your day and be well,

R.

After discussion with the band, the goal here was to pay serious homage to the production of the era so a considerable amount of time was spent researching and working through effects etc. that matched the original but would fare well in the 5.1 world. And of course, placement was also a critical issue. I’m pleased with the results and Alex Lifeson was pretty blown away when he came in to listen to the finals.

So enjoy and more to come shortly!

Be well,

R

It’s come to my attention that a few of the ????@richardchycki.com email addresses were not arriving at their destinations, including web@richardchycki.com — the main contact email via this site. So, apologies to those who sent email. They weren’t answered ’cause they never made it. Please re-visit and re-send if you wish. Thanks for the heads up. Aahhh, gotta love computers sometimes.

No news I can speak of until the gag orders are lifted … soon hopefully.

Be well,

R

The recordings were completed in a single day, only possible because this band really does a great job playing their material live. I brought the recordings back to Lerxst (Al Lifeson’s and my studio in Toronto), where I mixed. Once again, Andy Vandette at Masterdisk put the final touches on in mastering.

So far, this release has met with considerable success and critical acclaim so let’s hope more bands want to showcase themselves in a controlled live environment.

Be well,

R

Here is the band’s official press release about it:
_____

GOTTHARD – Huge demand causes a record re-entry in Swiss charts

Zurich – The tragic death of GOTTHARD singer Steve Lee has triggered a record demand for the band’s albums. For the first time in the history of the Swiss charts, 13 albums from one band are among the top 100 at the same time – and that means all albums that GOTTHARD have released so far in their career.

Also in the Swiss single charts, the loyalty and sympathy after Steve Lee’s death are very apparent. The single “Heaven” even made it to the top of the charts with “One Life One Soul” at number four. In total, nine singles are in the charts.
In the album charts it is “Need To Believe” and “One Team – One Spirit” that have the highest positions, numbers two and three respectively.

Just last Sunday, the official funeral service for the GOTTHARD front man was held on top of the Gotthard mountain. In spite of snow and winter temperatures, more than 3000 people came to pay their last respects to Steve Lee. Among them were all the band members, Lee’ s girlfriend Brigitte Voss-Balzarini and his sister as well as all the people involved with GOTTHARD such as management, technicians, crew, label and promotion.
In a memorial tent, mourners could place candles and flowers and say goodbye to Steve, to the sound of Native Indian music – the same music that Steve avidly listened to while visiting a camp of the Indian Shoshone tribe just one day before his death in the USA.
At 13.00 the eulogy was held in Italian and German by two monks of the Gotthard hospice. In Swiss history the term “Gotthard” has always stood for the uniting of the south, north, east and west and therefore would have a very special status for all, the monks said. Yet it also represents “onward journey” and “stopover”. The speech was closed reverently with the song “One Life One Soul” in a duet with opera diva Monserrat Caballé.

GOTTHARD are one of the most successful groups Switzerland has ever had. Several platinum, double and triple platinum awards enrich their history. 216 times, the Rock group has appeared in the single charts and a total of 378 times in the album charts. Twelve GOTTHARD albums have topped the charts. The single “Heaven” is only the second song in Swiss music history to achieve a second number 1 entry after being out of the charts for a while – the first one being the football anthem “Bring en hei” by Swiss artist Baschi.

_____

Be well,

R