Metallica - Fade to Black (Remixed and Remastered)

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[PersephonevanderWaard]

My two cents: After the initial crescendo, which has more volume and detail, the orchestral strings can be clearly heard—panned to the right as the acoustic guitar plays on (0:10). Those are deeper, murkier. Meanwhile, you've mixed the opening solo to be louder, and to swim in the gloom. The kick/snare strikes from Lars are panned slightly left-of-center (0:17); the sound they make travels further. There's also a bit of subtle bass from Cliff (0:25). Kirk's solo is crunchier throughout (0:50); the counterpoint between him and Cliff (0:54) is more pronounced. Moving into the acoustic refrain, the strings ring loud and clear, with a warm clearness. The original mix sounded somewhat thin and flat, with sharp divides between the players; here, there's more space, and more to fill that space, but it's subtle—until the band joins in: the bass (1:05), followed by Lars and his toms (1:10). I especially love that deep bass note at 1:13; barely audible in the original mix, you've brought it forward generously.
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This trend continues, with Cliff plugging along (1:21) while Lars' kick drum stamps at a volume and fullness previously denied to us. The original mix rendered that particular instrument nearly inaudible. The same went for the toms, which now explode with expert clarity and power (1:28). The snare, though audible before, no long has a taut, paper-thinness; it all but smacks the listener. I always disliked RtL's drum production—a problem you've more than addressed here. You've kept the delay on James' opening lines, and his vocals glide through the mist like a ghost. But there's so much more for him to pass through. Thankfully it's balanced quite well: Lars' drums leap out at us, the steel guitars play on, and Cliff thrums underfoot.
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This clarity remains when the electric guitars kick off. Those heavy down-strokes are as heavy as lead, but we can hear the kick drum (which pounds like mad: 2:01) alongside them. The guitar tone is less loud, in terms of pure, brute volume; but the overall tone is richer (2:06). Though massive, the original notes sounded cold as ice, and congested. Here, you've kept them sharp, but wrapped them in fine wool, like a sword in its sheath. I can hear and appreciate everything about them, while enjoying Lars' (2:19) fills with equal measure. There's a sense of give and take, instead of the rhythm guitars obliterating everything. They're quieter, but hit harder, because they're more articulate, more precise. Everyone is. The warmth doesn't disguise the harmonized guitars (2:36) so much as make them shimmer. Cliff accents the quiet with his own replies (3:09). Completely invisible in the original mix, that snare roll from Lars at 3:16 is fabulous.
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The chorus riff repeats, and the principles outlined above work their magic. I can scarce explain how clearly the guitar chord (3:33) comes in, but sounds inside a space that doesn't give way to the notes themselves. It feels contained, but not smothered; it holds together, less escapes. As a result, I can appreciate more. Consider 3:49: There's so many loud things happening, and yet I can easily make each of them out. Compression is exchanged for total experience. This will especially come in handy during the bridge, when the guitars explode, and Cliff rings over everyone. Nothing is canceled out, and the listening experience is a bit smoother, overall. There's a bit less bite, and more thump to the snare/cymbal combos—at 4:09, but also at 4:15. The latter sounds especially great, allowing for the guitars to bite and cut, but also for the drums and bass to keep pace and wreak their own havoc.
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This room for mayhem is illustrated further when the harmonized guitars join in (4:24): rhythm, harmonies, drums and bass—all playing together in a warm space (4:29: Fuck. Yes.). The harmonies are less compressed, but no less present. The drum fill at 4:36 was barely perceptible in the original mix; here, it's a whirlwind. Another disinterred snare roll explores from Lars during the last "Goodbye..." (4:51). The classic gallop is reduced in size, but not potency (4:56).
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And then... things just explode. 5:06 is a totem pole of metal and it's glorious: rhythm guitar, left; harmonies, right, which works fabulously. I'm not kidding when I say this part gave me goosebumps (to be fair, I get them a lot). Unfortunately both sides become harmonized, and the solo joins in very abruptly (I think there's a slight amount of clipping at 5:28). It's a lot to process. I'm not gonna lie, moments like 5:34 and 5:43 make me go a bit cross-eyed; there's almost too much to focus on! Lucky for us it's Lars to the rescue; some sweet double bass from him (5:46) helps reel things in a bit, and the second half of the guitar solo fares a bit better (6:11). This section is very ambitious, and pushes your talents to their limit. I think that a more conservative approach might have worked better in terms of sheer focus, but there's plenty of neat details and a newfound referee (Lars) to keep the lads in check.
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I don't want to sound sacrilegious, but I tried turning the volume down ever so slightly during the final section. This seemed to help. I'm not quite sold on the ending but the rest of the mix remains straight-upgrade over the original. Lars and Cliff benefit the most, but the whole band comes alive with you at the helm. Of course, I love having two RtL songs done in a row, but if you're revisiting classic, early Metallica, I wouldn't say no to some Kill 'Em All, either... Awesome work! \m/

[creepypokemon]

You just made Kirk solos feel like someone crying in sorrow? You're god

[chrishabidis]

Why Metallica hasn't already hired this guy to remaster all their albums and produce everything they do from now on?

[metfanl]

I'm always amazed by these. What you manage to get out of the original recordings is remarkable, dude.

[sam]

I don't care what people say about Lars, I've always loved his drumming especially on their first 5 albums. 5:44 when the double bass kicks in is awesome.

[MisterCactus]

If the original song was a beautiful painting, this remaster brings you into the world of the painting itself.

[MusaTariq]

You fixed two of my only issues with RTL’s production — you leveled the bass (it’s fine in the remaster, too) and made the kick drum punch through more

[jerrydonquixote]

2 my two brothers in arms and Friends Lawrence Gerwe and Randy Carter. Both hung themselves, they were veterans that couldn't take anymore till Valhalla Brothers in arms...

[ImmortalMarz]

The bass and drums sounds phenomenal and James voice e how's like he is in a room phenomenal mix!

[hisholiness]

It makes me sad that if this awesome mix was an official remaster ppl would wine about it having lost its "80's feel" or something. This sounds amazing and is one my favorites of yours now.

[hilo]

excellent, it is my favorite song of metallica, and you uploaded it today which is my birthday

[adrianjunor]

This song has a special place in my heart, it always made me feel better when i'm depressed or feeling down...
So thank you Metallica for making this song and thank you Ahdy for remastering this masterpiece!

[FilipBorowski.]

The intro-solo is sooo much clearer and detailed! Drum kick finally has some depth and power. Toms also gained some weight to them. And those high sounds supporting Het's vocals! A-mazing!

[WanderingDeadbeat]

I was so sad when you made the old version private, I'm glad that was just because you were working on an even better version :)

[roberttalley]

Thank you. You'll never understand how important these remasters are.

[leandrometfan]

5:49 the start of an amazingly emotional solo while showing the middle finger

[halosam]

I'm having a shit day today and Metallica is my comfort music, with this topping my list of favourite of comfort songs. I went to youtube to go to Metallica, and this was my first recommended.

Thank you for being so well timed, I really needed this today!

[AftermathInsights]

The intro is some of the most beautiful work they've created

[joselekiwi]

The bass feels absolutely perfect with the bass drum

[parlamedia]

Here I sit, shaking my head in disbelief on how damn well you have succeeded with this song. Thank you Ahdy.