Mettler: Can you give me a timeline as to when you were contacted about doing 2112 in 5.1, and by whom? Were you given any specific instructions or directions from anyone in the band, like Alex?
Chycki: "I suppose it all began with a coffee-infused, big-eyed discussion with Alex about the environment of 'Discovery'. The experience of seeing 2112 in 5.1 slowly come together, and then finally pushing it to completion after 7 years, was nothing short of amazing. I knew something might be up in 2011 during the discussion about the three DVD-Audio discs I mixed for the three road case Sector box sets. Although I had the multitrack masters for 2112 in hand at the time, it had been decided to not include it in 5.1 in the Sector 2 set. My suspicions that 2112 was being held back for a special release of sorts turned out to be correct. I went into discussions with label and management in the spring of 2012 about scheduling and delivery. Like the other surround mixes to date, the band has preferred that the mix remain true to its heritage, rather than modernizing it and including effects that didn't exist back in ’76. The Dark Side Of The Moon 5.1 remix (done by James Guthrie) would be an excellent reference example as to this interpretation’s integrity. 2112 5.1 was mixed while the band was on tour (supporting Clockwork Angels), so Alex and Andy (Curran, who does A&R for the band’s label, Anthem) booked a suitable 5.1 room while on the road to review the mixes and comment on any changes."
Mettler: Let’s delve into what you had to do for the waterfall sequence in 'Discovery', since that’s become one of my favorite surround sound sequences ever. And then tell me what else you did for the rest of the title track.
Chycki: "It’s very much like the original discussion Alex and I had years ago about having a rear waterfall; we tackled the whole deal! I should also note that there are accompanying illustrated sequences that you’ll see onscreen in some incarnations of the packaging. It tells the visual story and it punctuates the true achievement of Rush coalescing the lyrics, performance, and sonics on 2112, which I believe is a major part of the overall success of this album.
Anyway, I felt very proud of the 5.1 mixes when Alex called me, bubbling over about how it sounded like the original album yet 'so much more.' He was so excited. It really was that moment, when one of the three people who would know this project better than anyone gave his blessing, that I felt this had turned into something very special."
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As previously reported, Audio Fidelity have delayed the release of the SACD (Super Audio CD) version of Rush's Counterparts album until February 19th. According to a press release, the limited edition of this 1993 album was the 15th studio album by Rush and highest charting album in the US, peaking at #2 on the Billboard 200 (only behind PEARL JAM's Vs.). The lyrics of Counterparts continue the trend of Roll The Bones with dark and emotional themes being the primary focus. Some songs are "heavy" sounding tracks like 'Animate' and 'Stick it Out', which topped the Mainstream Rock Tracks for four weeks in late 1993, becoming the band's fifth single to do so. 'Leave That Thing Alone' earned a Grammy nomination for Best Instrumental.
Counterparts features the following tracklisting:
'Stick It Out'
'Cut To The Chase'
'Between Sun & Moon'
'The Speed Of Love'
'Leave That Thing Alone' (instrumental)