he 13th Floor Elevators - Easter Everywhere: Remixed [A Prof. Stoned Comp 2024]
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** Stereo Album Demix/Remaster 2024 **

01. Slip Inside This House
02. Slide Machine
03. She Lives (In A Time Of Her Own)
04. Nobody To Love
05. Baby Blue
06. Earthquake
07. Dust
08. (I've Got) Levitation
09. I Had To Tell You
10. Postures (Leave Your Body Behind)
bonus:
11. Fire In My Bones
12. Before You Accuse Me
13. Splash 1 (Now I'm Home) {as 'Roky & Clementine'}
14. Right Track Now {as 'Roky & Clementine'}

All tracks Stereo
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** Live at the Houston Music Theatre; Feb 18, 1967 - Demix/Remaster 2024 **

01. (I've Got) Levitation
02. Roller Coaster
03. Fire Engine
04. Reverberation (Doubt)
05. 'tuning'
06. Don't Fall Down
07. Tried To Hide
08. 'tuning'
09. Splash 1
10. You're Gonna Miss Me
11. Monkey Island
12. Kingdom Of Heaven
13. She Lives (In A Time Of Her Own) [cuts off near ending]

All tracks Mono
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Total time: 1h39m29

Demix/Mastering: Prof Stoned
Special thanks to Johnny (Epitaph vinyl rip & research), The Poodle Bites (stereo LP rip & sleeve scans), Eugene, Lew, Pete and whoever else that contributed to unearthing and researching.

v1.0: 13-07-2024

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Note:

Everything here was given the demix treatment. The most radical changes were made to the album tracks; the resulting mix is not 100% true to the vision of the original which has the vocals often buried in favor of the guitar, so purists are advised to stay away. Attempted was to bring out a bit more of Roky's beautiful voice while still retaining that guitar-heavy sound. "Slip Inside', 'Dust' & 'Postures' appear in mono on the original LP. An at-the-time unused stereo mix of 'Dust' was used here, while the other two (and also the unedited version of the single B-side 'Before You Accuse Me') were demixed into a primitive stereo version with drums and guitars separated and vocals/bass guitar centered. The fantastic vinyl rip from the original USA pressing used here was done by 'The Poodle Bites' and used with kind permission*. It can be found in 24/96 high resolution on his blog.

The 'Live in Houston' tape is the only live document we have from 1967 but fortunately it is of excellent quality. This recording was the work of the band's two principal engineers Frank Davis & Walt Andrus. It is not a soundboard recording as has been suggested but rather it was captured with room micing. The tape cuts out two times, notably during the intro of 'Baby Blue' which Davis and Andrus did not bother resume capturing. A second set consisting of jam sessions exists in true stereo, but this first set seems to have been recorded in mono only. I believe this is by far the best it has ever sounded, restoring most of Roky's vocals to the fore and improving on the overall balance. Stacy's playing deteriorates near the ending of the set since he was suffering a traumatic LSD trip.

Enjoy!

[* I'm going to assume you are aware of the sad history of the first two Elevators albums master tapes and why needledrops of the original albums are the only acceptable source material for remastering. If not, there are plenty of informative threads on Hoofman's board.]

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A note about mastering with demix technology:

You may have heard some of my recent offerings where I have used demix pro for spectral extraction. I believe it is the most revolutionary audio processing tool since ages. It enables us to break a mono signal down into dedicated elements: vocals, drums/percussion, bass guitar, guitar, piano and whatever remains after. These extractions can be of such precision they allow for a realistic reconstruction of a mix, but it depends greatly on the source material.

Why is this useful? Well... the original mix may have flaws that affect the quality of the sound. By nature, the process of mastering is designed to improve upon such flaws by applying equalization and/or processing of dynamic range. But what if one element within a recording needs more treble, while another element is already bright enough? At that point, EQ is not sufficient anymore because your choices will affect both. Of course, mastering does not begin and end with just EQ; there are always other ways of emphasizing or hiding elements in a recording. But spectral extraction allows you to improve upon the sound of one element without 'harming' the sound of all the others and also to re-balance those elements if necessary.

I have used Demix pro and now also Spectralayers on some of the recordings here. The remaining material just received a straight forward mastering, also with great care and precision of course.

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I have used the following digital studio gear and monitoring in the making of this:

- Spectralayers 10
- DeMix Pro 4.5.0.
- Cubase
- Universal Audio UAD-2 Satellite Quad-Core (incl. various extra plugins I purchased over the years)
- PMC IB2s & iLoud Micro monitors
- Adobe Audition
- Izotope RX9

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Sources (in order of first appearance):

– Easter Everywhere // Label: International Artists – IA-LP-5 Format: Vinyl, LP, Album, Stereo Country: US Released: Oct 25, 1967
– Texas Rockmusic Heritage Vol.2 - Paradise Lost // Label: Lone Star Records (5) – LSR 19630 Format:2 x CD, Compilation, Unofficial Release Country: Netherlands Released:1994 (though it is believed this was actually released in 2003, attempting to avoid copyright issues)
– The 1966-1967 Unreleased Masters Collection // Label: Collectables – COL-CD-8816 Format:3 x CD, Compilation Country: US Released:1994
– Various – Epitaph For A Legend // Label: International Artists – 13 Format: 2 x Vinyl, LP, Compilation, Stereo Country: US Released: 1980