Latest member - David Bendeth

[Renan]

But that may be a difference between german and american mentality. Germans don't like it too much if someone is using too colorful words. Sometimes it sounds like "hey! Please tell me I'm a big shoe."

Am I the only one who has no idea what that means?

Ok, I also didn´t understand but now you mentioned........

[minkahed]

hey Greg, thanks for posting that pic.

The artwork sucked ass on that disc, but the tracklist was phenomenol for an Elvis release, 'specially for the 80's...

[etp]

David, I read on another forum that there is an alternate "take" or "version" of ALL SHOOK UP on E1. Never realized that.

[ColinB]

Also you reminded me of something I´ve always wondered about - the spacing between the tracks on E1 - the long space is really weird, at first I thought there was something wrong with my copy of the CD.
Who decided this - and why?

I don't think this got answered, did it ?

My understanding is that the really long gap which appeared between two of the tracks was simply an error.

It was corrected on the subsequent DVD-A release of E1.

[monkboughtlunch]

E1 was just about marketing, Monk?

I think thread after thread here shows
that there was a story to the new mixes....

BMG remixed a lot of Elvis material in the mid-to late 1990s.

But with E1, BMG got smart. They piggybacked off the successful "Beatles 1" CD concept. The marketing concept was simple: the hits in great sound. Can you recall any other Elvis release that incorporated 14' x 48' highway transit billboards? E1 had a budget and sizzle. Great sound quality was part of the marketing pitch.

The marketing was great. How many millions of copies sold? But as a consumer, I always felt the sonics disappointed. But then I'm an audiophile. The average person isn't going to care.

I threw my copy of E1 in the trash when I purchased it back in 2002. How a producer could actually convince himself that his flange-ridden attempt at remixing the unremixable two-track stereo master of Suspicious Minds was successful and worthy of retail sale is beyond me. Bendeth posted on this board that he released his failed experiment because "it took him 4 days."

Burning Love--this is an example of a great remix--But the excessive compression introduced in the mastering stage squashes all the dynamics and breath of life.

Can't Help Falling in Love--listen to the pallid E1 mastered version and then the gorgeous sonics of the alternate take mastered by Vic Anesini on the "Close Up" box. Vic knows what he is doing.

E1 was more a marketing concept. Anyone could have remixed and remastered the material. And Vic Anesini's "stealth remastering" of the E1 tracks on "HitStory" are indicative of the backlash against the poor producing, mixing and mastering decisions and--alternate takes (on a #1 hit singles compilation?)--that plagued the original release. The public didn't purchase this material because Bendeth was involved. They purchsed it because they were promised the #1 hits in superior sound. The end product failed to deliver.

What's disappointing is that millions of people around the world think Susipicious Minds is supposed to sound "flanged."

[sam]

Sounds good to me, but just let me turn my hearing aid up!!!

[etp]

About the "E1" on "HIT-STORY".

Are there the uncompressed Bendeth-Mixes or are the masters on that one Anesini-masters!?

[Gregory Nolan Jr.]

Well, Monk', I can appreciate that you have stepped up to the plate
and said what you have said elsewhere about E1.

I hear you about the marketing dollars pumped into the project (don't we always wish for that?)
but the notion that you alone wear the audiophile mantle when many
other fans and writers well beyond my reach on the audiophile angle
have commented favorably
on at least a good deal of the mixing (not the mastering) of E1 reveals your own arrogance.

I'm no fan of the "gaffes," nor the "louder sound" (that occurred in the mastering, not the mixing David did) but you seem to be throwing
the baby out with the bathwater.

The notion that one would ever toss an Elvis CD in the trash (and it's
the second time you've said so on FECC, if we are to believe you) says more about you than you seem to realize. The day one tosses an Elvis CD in the garbage (no matter how "bad" it is) is the day you might want to reconsider your "audiophile" leanings vs. being an Elvis fan.

You might want to work yourself into a lather over superfluous releases
like "Love, Elvis" rather than one of the highlights of Elvis' visibility and
popularity since 1977.

I say this not as a Bendeth apologist, but as a budding audiophile and a long-time fan: we look forward to your own achievements in the Elvis remixing arena. Keep us posted.

[monkboughtlunch]

Greg,

As a consumer, I have a right to voice my opinion of a product I paid for (what did this POS list for? $20??)--just as you have a right to sing E1's praises. Again, the concept of remixing multitracks is not a new concept. Ferrante remixed Burning Love back in 95 for the 70s box.

If I recall correctly, the promotional sticker that was affixed to the front of the E1 disc touted to the consumer: "Mastered and mixed from the original tapes for optimal sound quality." And "30 # 1 hits." The sticker misled the consumer on both points.

Given that three alternates were included on E1--"27 #1 hits" and "3 alternates chosen by the producer because they were better in his opinion than the hit versions Elvis approved" would have been more accurate title. And the sound quality for several tracks, such as Suspicious Minds, is anything but optimal. Perhaps the sticker should have said "remixed from the original stereo mixes to create optimum flanging."

If I had produced the disc, I would have transferred all tapes using vintage tube equipment direct to DSD, and then outsourced mixing and mastering to respected professionals like Steve Hoffman, Kevan Budd and Vic Anesini. Excessive limiting and compression would have been prohibited. Where multitracks with all mixdown elements did not exist (such as Suspicious Minds and The Wonder of You), the original stereo mixes would be used and not tampered with.

[David Bendeth]

I would reply to this post.
But after having such a truly positive experience on this board with the many wonderful people who have written me and emailed me privately, I am not going to respond. Now I know better. It has been a long road and one well travelled by all that have followed here.

At this juncture I would like to thank the many Elvis FECC fans that were kind and knowledgable and had questions that were meaningful to me and themselves. I have truly enjoyed this experience. I hope you have.
DB

E1 was just about marketing, Monk?

I think thread after thread here shows
that there was a story to the new mixes....

BMG remixed a lot of Elvis material in the mid-to late 1990s.

But with E1, BMG got smart. They piggybacked off the successful "Beatles 1" CD concept. The marketing concept was simple: the hits in great sound. Can you recall any other Elvis release that incorporated 14' x 48' highway transit billboards? E1 had a budget and sizzle. Great sound quality was part of the marketing pitch.

The marketing was great. How many millions of copies sold? But as a consumer, I always felt the sonics disappointed. But then I'm an audiophile. The average person isn't going to care.

I threw my copy of E1 in the trash when I purchased it back in 2002. How a producer could actually convince himself that his flange-ridden attempt at remixing the unremixable two-track stereo master of Suspicious Minds was successful and worthy of retail sale is beyond me. Bendeth posted on this board that he released his failed experiment because "it took him 4 days."

Burning Love--this is an example of a great remix--But the excessive compression introduced in the mastering stage squashes all the dynamics and breath of life.

Can't Help Falling in Love--listen to the pallid E1 mastered version and then the gorgeous sonics of the alternate take mastered by Vic Anesini on the "Close Up" box. Vic knows what he is doing.

E1 was more a marketing concept. Anyone could have remixed and remastered the material. And Vic Anesini's "stealth remastering" of the E1 tracks on "HitStory" are indicative of the backlash against the poor producing, mixing and mastering decisions and--alternate takes (on a #1 hit singles compilation?)--that plagued the original release. The public didn't purchase this material because Bendeth was involved. They purchsed it because they were promised the #1 hits in superior sound. The end product failed to deliver.

What's disappointing is that millions of people around the world think Susipicious Minds is supposed to sound "flanged."

[minkahed]

Ferrante remixed Burning Love back in 95 for the 70s box.

Really

How do u figure

kooky me, the mix of Burning Love featured on the 70's box sounds exactly like my "Original" 45rpm monk...

Not everything that appeared on that 70's box were remixed

[monkboughtlunch]

Ferrante did remix some of the 70s material on the 1995 box set. For example, the Dec. 1973 Stax material (e.g. Promised Land, My Boy etc.) was remixed, as were the March 72 tracks, including Burning Love. When Ferrante remixed Burning Love, he placed the instruments in the same "pan" position as the original mix, so it may sound the same to you as your 45. But it is a remix.

However, other sessions on the 1995 70s box were NOT remixed . Example: the masters from the 76 Graceland sessions. Also, the Feb. 70 On Stage tracks were original mixes. I believe the July 73 Stax cuts were not remixed either. The masters from June 70 were not remixed. I'm not sure about the March 75 today masters...maybe someone knows if those are remixes or not...

[David Bendeth]

You are correct, it was a mastering error created at Sterling after the work had been approved.

Also you reminded me of something I´ve always wondered about - the spacing between the tracks on E1 - the long space is really weird, at first I thought there was something wrong with my copy of the CD.
Who decided this - and why?

I don't think this got answered, did it ?

My understanding is that the really long gap which appeared between two of the tracks was simply an error.

It was corrected on the subsequent DVD-A release of E1.

[David Bendeth]

Here we go!!
And god bless all the audiophiles in the world as herein lies the problem.

And Mr. Monk states:
"I would have outsourced MIXING and mastering to Steve Hoffman, Kevan Budd, and Vic Aneseni"

Monk please tell us ALL here as I know we are all willing to learn, the MIXING ability of the three people you really like as mixers.

Which MIXES are we all supposed to listen to that the above have
"MIXED "for optimum MULTITRACK Analog/Digital out of the box full dynamic range mixdowns?
We especially want to know about all the 8 track, 16 track and 24 track work they have done. In fact please gived us the discography as well.

Gentleman please start your google search engines for the answers.
whoops! It was LOVELY post though.
DB








If I had produced the disc, I would have transferred all tapes using vintage tube equipment direct to DSD, and then outsourced mixing and mastering to respected professionals like Steve Hoffman, Kevan Budd and Vic Anesini.

[David Bendeth]

Please send us the link. thanks DB

David, I read on another forum that there is an alternate "take" or "version" of ALL SHOOK UP on E1. Never realized that.

[minkahed]

When Ferrante remixed Burning Love, he placed the instruments in the same "pan" position as the original mix, so it may sound the same to you as your 45. But it is a remix.

oh, ok...

could you please be a bit more specific

I mean, placed the instruments in the same "pan" position as the original mix...

what your saying is it is the same mix as the "Original"

Look, I'm not gonna say your wrong, but I jus played Burning Love several times, compared both versions on excellent equipment and thru my mixing board with headphones, and they sound exactly the same.

Again, if you could elaborate a bit more, it would be appreciated. Thanks.

[monkboughtlunch]

Here we go!!
And god bless all the audiophiles in the world as herein lies the problem.

And Mr. Monk states:
"I would have outsourced MIXING and mastering to Steve Hoffman, Kevan Budd, and Vic Aneseni"

Monk please tell us ALL here as I know we are all willing to learn, the MIXING ability of the three people you really like as mixers.

Which MIXES are we all supposed to listen to that the above have
"MIXED "for optimum MULTITRACK Analog/Digital out of the box full dynamic range mixdowns?
We especially want to know about all the 8 track, 16 track and 24 track work they have done. In fact please gived us the discography as well.

Gentleman please start your google search engines for the answers.
whoops! It was LOVELY post though.
DB

I think you missed the point. Only the last two tracks (Burning Love & Way Down) on the 30 track E1 collection would require extensive mixing (more than 8 tracks).

Steve Hoffman, BTW, has mixed from 3 and 4 track sources, such as the Everly Brothers and Chuck Berry material. He's more than capable of mixing the 3-track 1960 Nashville recordings on E1, as well as the 3-track Hollywood movie songs.

Vic Anesini is very talented at mixing. Check out his superb mixing and mastering work from the multitrack source tapes of Janis Joplin's "Live at Winterland' 68" on Sony CD. Check out his mixing and mastering of classic Thelonious Monk Columbia titles, like "Monk: Big Band and Quartet in Concert."

In the Ghetto and Suspicious Minds didn't need to be remixed if the source elements weren't all on the 4 tracks. Just use the stereo masters.

The Wonder of You didn't need a remix if all the source elements of the master mix didn't exist on the multis. Just use the stereo master.

So, again, that only leaves Burning Love and Way Down...

If you don't think any of the individuals above could handle it, I would suggest Bruce Botnick. He is very talented and respected and gained fame from recording and and later co-producing The Doors.

[monkboughtlunch]

When Ferrante remixed Burning Love, he placed the instruments in the same "pan" position as the original mix, so it may sound the same to you as your 45. But it is a remix.

oh, ok...

could you please be a bit more specific

I mean, placed the instruments in the same "pan" position as the original mix...

what your saying is it is the same mix as the "Original"

Look, I'm not gonna say your wrong, but I jus played Burning Love several times, compared both versions on excellent equipment and thru my mixing board with headphones, and they sound exactly the same.

Again, if you could elaborate a bit more, it would be appreciated. Thanks.

The version of Burning Love on the 1995 box set is a remix. It is not sourced from original stereo mixdown tape from 1972 and used for the LP "Elvis Sings Burning Love and Hits from his movies." This means someone remixed Burning Love from the elements on the multitrack session tape, which I believe was 24 track tape. This means there are 24 individual discreet tracks on the tape that can contain isolated sound elements (not assuming bouncing or submixing). The 1995 remix is faithful to the original stereo mix's pan placement and therefore may sound similar to you.

[David Bendeth]

Monk you are unfortunately now really out of your league. It is time to do some homework, hit the books buddy, get a new needle for the gramaphone and put in a new woofer on the old Altec Lansings, But more important than that please try to grasp some real facts now.ok?

In the Ghetto was missing elements? really? like what? Please point us all to the link where anyone has ever said that.

And this is the real killer for me... Especially coming from someone as "knowledgable" as you seem to be.
Suspicious minds and in the Ghetto were 4 tracks? You have really lost complete credibility with me now forever.
Off the charts wrong homework.I am soooo dissapointed.

Can someone besides myself please enlighten Monk as to the amount of tracks on these particular masters? I just feel I cant rub his nose in this any longer.
As far as the other "Mixers" I rest my case.
I am sure they are wonderful and talented mastering guys, In fact they all have great reputations in that field but as far as "mixers" I do not think their phones ring much for that kind of work. I just booked Ted Jensen at Sterling to master a record, unfortunately he was not available until the end of February. Ted I think might be able to hang with them. I think they would agree. Now, I am going to pretend that you didnt write that lost post and I still want you to buy me lunch. Tuna sandwiches anyone?
DB

Here we go!!
And god bless all the audiophiles in the world as herein lies the problem.

And Mr. Monk states:
"I would have outsourced MIXING and mastering to Steve Hoffman, Kevan Budd, and Vic Aneseni"

Monk please tell us ALL here as I know we are all willing to learn, the MIXING ability of the three people you really like as mixers.

Which MIXES are we all supposed to listen to that the above have
"MIXED "for optimum MULTITRACK Analog/Digital out of the box full dynamic range mixdowns?
We especially want to know about all the 8 track, 16 track and 24 track work they have done. In fact please gived us the discography as well.

Gentleman please start your google search engines for the answers.
whoops! It was LOVELY post though.
DB

I think you missed the point. Only the last two tracks (Burning Love & Way Down) would require extensive mixing (more than 8 tracks).

Steve Hoffman, BTW, has mixed from 3 and 4 track sources, such as the Everly Brothers and Chuck Berry material. He's more than capable of mixing the 3-track 1960 Nashville recordings on E1, as well as the 3-track Hollywood movie songs.

Vic Anesini is very talented at mixing. Check out his superb mixing and mastering work from the multitrack source tapes of Janis Joplin's "Live at Winterland' 68" on Sony CD. Check out his mixing and mastering of classic Thelonious Monk Columbia titles, like "Monk: Big Band and Quartet in Concert."

In the Ghetto and Suspicious Minds didn't need to be remixed if the source elements weren't all on the 4 tracks. Just use the stereo masters.

The Wonder of You didn't need a remix if all the source elements of the master mix didn't exist on the multis. Just use the stereo master.

So, again, that only leaves Burning Love and Way Down...

If you don't think any of the individuals above could handle it, I would suggest Bruce Botnick. He is very talented and respected and gained fame from recording and producing The Doors.

[David Bendeth]

Monk was certainly right about Bruce Botnick. He has had an extensive career mostly in Engineering and Producing, some mastering.
Here are some of my favorite mixes Bruce has done lately:
http://shopping.yahoo.com/p:Scooby%20Doo%20%2F%20O.S.T.:1921865887;_ylt=Akk2yjPu9je11uFYM7iMaSxUvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-
and
http://shopping.yahoo.com/p:Mary%20Poppins%20%5BSpecial%20Edition%5D:1922077685;_ylt=AlRQjNUGeuDGcM1AAZdJ2rdUvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-

Bruce is a legend in the biz!!
DB

Here we go!!
And god bless all the audiophiles in the world as herein lies the problem.

And Mr. Monk states:
"I would have outsourced MIXING and mastering to Steve Hoffman, Kevan Budd, and Vic Aneseni"

Monk please tell us ALL here as I know we are all willing to learn, the MIXING ability of the three people you really like as mixers.

Which MIXES are we all supposed to listen to that the above have
"MIXED "for optimum MULTITRACK Analog/Digital out of the box full dynamic range mixdowns?
We especially want to know about all the 8 track, 16 track and 24 track work they have done. In fact please gived us the discography as well.

Gentleman please start your google search engines for the answers.
whoops! It was LOVELY post though.
DB

I think you missed the point. Only the last two tracks (Burning Love & Way Down) on the 30 track E1 collection would require extensive mixing (more than 8 tracks).

Steve Hoffman, BTW, has mixed from 3 and 4 track sources, such as the Everly Brothers and Chuck Berry material. He's more than capable of mixing the 3-track 1960 Nashville recordings on E1, as well as the 3-track Hollywood movie songs.

Vic Anesini is very talented at mixing. Check out his superb mixing and mastering work from the multitrack source tapes of Janis Joplin's "Live at Winterland' 68" on Sony CD. Check out his mixing and mastering of classic Thelonious Monk Columbia titles, like "Monk: Big Band and Quartet in Concert."

In the Ghetto and Suspicious Minds didn't need to be remixed if the source elements weren't all on the 4 tracks. Just use the stereo masters.

The Wonder of You didn't need a remix if all the source elements of the master mix didn't exist on the multis. Just use the stereo master.

So, again, that only leaves Burning Love and Way Down...

If you don't think any of the individuals above could handle it, I would suggest Bruce Botnick. He is very talented and respected and gained fame from recording and and later co-producing The Doors.

[sam]

How do I become an Audiophile?
It sounds like fun?
Is there a membership price?
Do I need to subscribe to something?
Do I need to pass a hearing test?

I used to just listen to the music, but now we need to analyze it as well.

Do I need any special equiptment?

Are there any other questions I should ask?

[monkboughtlunch]

Monk you are unfortunately now really out of your league. It is time to do some homework, hit the books buddy, get a new needle for the gramaphone and put in a new woofer on the old Altec Lansings, But more important than that please try to grasp some real facts now.ok?

In the Ghetto was missing elements? really? like what? Please point us all to the link where anyone has ever said that.

And this is the real killer for me... Especially coming from someone as "knowledgable" as you seem to be.
Suspicious minds and in the Ghetto were 4 tracks? You have really lost complete credibility with me now forever.
Off the charts wrong homework.I am soooo dissapointed.

Can someone besides myself please enlighten Monk as to the amount of tracks on these particular masters? I just feel I cant rub his nose in this any longer.
As far as the other "Mixers" I rest my case.
I am sure they are wonderful and talented mastering guys, In fact they all have great reputations in that field but as far as "mixers" I do not think their phones ring much for that kind of work. I just booked Ted Jensen at Sterling to master a record, unfortunately he was not available until the end of February. Ted I think might be able to hang with them. I think they would agree. Now, I am going to pretend that you didnt write that lost post and I still want you to buy me lunch. Tuna sandwiches anyone?
DB

Here we go!!
And god bless all the audiophiles in the world as herein lies the problem.

And Mr. Monk states:
"I would have outsourced MIXING and mastering to Steve Hoffman, Kevan Budd, and Vic Aneseni"

Monk please tell us ALL here as I know we are all willing to learn, the MIXING ability of the three people you really like as mixers.

Which MIXES are we all supposed to listen to that the above have
"MIXED "for optimum MULTITRACK Analog/Digital out of the box full dynamic range mixdowns?
We especially want to know about all the 8 track, 16 track and 24 track work they have done. In fact please gived us the discography as well.

Gentleman please start your google search engines for the answers.
whoops! It was LOVELY post though.
DB

I think you missed the point. Only the last two tracks (Burning Love & Way Down) would require extensive mixing (more than 8 tracks).

Steve Hoffman, BTW, has mixed from 3 and 4 track sources, such as the Everly Brothers and Chuck Berry material. He's more than capable of mixing the 3-track 1960 Nashville recordings on E1, as well as the 3-track Hollywood movie songs.

Vic Anesini is very talented at mixing. Check out his superb mixing and mastering work from the multitrack source tapes of Janis Joplin's "Live at Winterland' 68" on Sony CD. Check out his mixing and mastering of classic Thelonious Monk Columbia titles, like "Monk: Big Band and Quartet in Concert."

In the Ghetto and Suspicious Minds didn't need to be remixed if the source elements weren't all on the 4 tracks. Just use the stereo masters.

The Wonder of You didn't need a remix if all the source elements of the master mix didn't exist on the multis. Just use the stereo master.

So, again, that only leaves Burning Love and Way Down...

If you don't think any of the individuals above could handle it, I would suggest Bruce Botnick. He is very talented and respected and gained fame from recording and producing The Doors.

I think your're splitting hairs and flustered by critical feedback. So Moman recorded the sessions on four track and bounced them around and dubbed them to 8 tracks or 16 tracks for later post-production string and vocal overdubs by Porter. Whatever.

It's been so long since I threw E1 in the trash that I can't remember what you did to In the Ghetto.

[monkboughtlunch]

Monk was certainly right about Bruce Botnick. He has had an extensive career mostly in Engineering and Producing, some mastering.
Here are some of my favorite mixes Bruce has done lately:
http://shopping.yahoo.com/p:Scooby%20Doo%20%2F%20O.S.T.:1921865887;_ylt=Akk2yjPu9je11uFYM7iMaSxUvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-
and
http://shopping.yahoo.com/p:Mary%20Poppins%20%5BSpecial%20Edition%5D:1922077685;_ylt=AlRQjNUGeuDGcM1AAZdJ2rdUvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-

Bruce is a legend in the biz!!
DB

I'm disappointed that you would make fun of Bruce Botnick. He is a highly respected professional in the audio business.

He also mixed the Elvis TTWII 30th DVD in 5.1 surround sound.

[etp]

Please send us the link. thanks DB

David, I read on another forum that there is an alternate "take" or "version" of ALL SHOOK UP on E1. Never realized that.

Well, I listened to it again and I can't find there any differences to the well known master .....

[David Bendeth]

Monk, this now getting unbearable for me, are you now saying I dont like Scooby doo??????? I love Scooby. I love these mixes. I also like Mary Poppins, who doesnt? This is getting spiteful with all these insinuations that I would want to make fun of Bruce.
As I said before and I meant it..Bruce is a great engineer. There is no question.
As far as the 4 tracks being "bumped up" they were not the MASTER tapes I saw. They were all recorded on more than 4 and 8 tracks. They did not seem to be updated masters to me. They were on 16 track tapes. That means more than four. Now go back to the Steve Hoffman Mastering board where you belong and and sing his praises to each other all day. bye

Monk was certainly right about Bruce Botnick. He has had an extensive career mostly in Engineering and Producing, some mastering.
Here are some of my favorite mixes Bruce has done lately:
http://shopping.yahoo.com/p:Scooby%20Doo%20%2F%20O.S.T.:1921865887;_ylt=Akk2yjPu9je11uFYM7iMaSxUvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-
and
http://shopping.yahoo.com/p:Mary%20Poppins%20%5BSpecial%20Edition%5D:1922077685;_ylt=AlRQjNUGeuDGcM1AAZdJ2rdUvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-

Bruce is a legend in the biz!!
DB

I'm disappointed that you would make fun of Bruce Botnick. He is a highly respected professional in the audio business.

He also mixed the Elvis TTWII 30th DVD in 5.1 surround sound.