Some of those albums like DSOTM sound somehow “constructed” sound wise on high end equipment and prefer to be played on the gear quality of the time which sounds more dense and smeared. Have to check and remember, how it’s with this one. Have the 30th anniversary LP, SACD, the 2011 Blue Ray and the Mofi. Enough for someone who rarely listens to it 
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Perhaps coincidentally, Alan Parson was involved with the recording of Dark Side of The Moon, and perhaps others, I’m not sure. Learned that on the Professor of Rock YouTube channel…
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If I remember correctly Alan parsons was a recording engineer at Abbey Road. I’ve enjoyed his music all the way back to Tales of Mystery and Imagination.
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Thanks for the tip Paul. I did a little research and, for those interested, found this recent Copper magazine article about ripping SACDs by Tom Gibbs.
I even saw your comment! 
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I forgot about that article in copper. Thanks for the reminder!
I think historically informed Musicians help to find a structure in Sound, which is clear and vivid. In the 1970ies some Orchestras sounded muddy and dull, not realising differenciated overtones in playing string instruments. Playing modern Instruments historically informed is occasionally a good approach …
Many share your preference for the sound of modern instruments. This makes sense; modern instruments are typically more powerful, with richer tone, and greater consistency across their playable range. They won the march of progress.
But performing early work on modern instruments presents problems, such as in balance (for example, a piano is a lot louder than a harpsichord, a modern trumpet much more powerful and brilliant, a modern clarinet can easily over power, etc.), and the pieces were written to work on contemporary instruments of the time so that timbres worked together and the like.
Thus, performances on original instruments reveal the composer’s intent in a way modern instruments cannot.
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Plus, it must be great fun.
I have an early 1900’s guitar that tells me how it wants to be played, which is sympathetically and not at all like my newer guitars.
A great example. While I am not a guitarist, I am certain playing an older instrument is a remarkably different experience than playing a modern equivalent.
Yes that makes sense.
I would agree that older instruments require a more specifically informed approach to playing as opposed to their modern day counterparts. Not being a musician, nor in any way well versed on this subject matter, I have often been intrigued by the different tonality and arrangement considerations, as you have pointed out, required by ensembles when performing pieces with members of the gamba family, for example.
Even with my aging ears, I can readily make out the distinct differences between the same pieces as performed on one family of strings vs the other. And, in a large part owing to the recording process and the performer’s technique’s, I find those compositions performed on older instruments more satisfyingly appropriate.
I believe an entire thread could be developed just going down the rabbit hole on this.
Just taking a walk through the ancient instruments wing of the Metropolitan Museum of Art is a fascinating experience in and of itself.
You wanna talk ancient? 
Touché. 
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Did you know that the Chinese landed there?
Mine just arrived.
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Priceless.
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YES!!! That’s what I’m talking about! The original HI REZ!
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Tube 8-track player?
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All my Echoes memories were Pot infused. Except one night many years ago. I used to keep a stereo clock radio on at low volume by my bedside at my Mom’s home growing up. It helped me go to sleep.
Well, Andy Frost’s Overnite was on and at about 3 am (don’t ask), I woke up to the electric bird calls halfway through the track. Nothing to do with Pot or a night of heavy of drinkin’.
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Basically agreed! But even with Bach’s Music there are so many valid and inspiring approaches with modern Instruments. With Orchestra or Ensemble Music the balance is almost better by playing a setup, which will realise a historical informed “Aufführungspraxis”. But are their any general recommendations (old / modern setup) for his Music for solo instruments? I don’t think so. Very capable is Grand Piano (for instance with Glenn Gould) or Modern Cello (going back to an interview with Pieter Wispelwey) in my opinion …