There may still be some high frequency loss as I think was the case with Zappa's Hot Rats, while my Classic Records version has better bass, it lacks the top end "liveness" of my original pressing, which I ultimately prefer. Yet overall, it's likely that a pres master tape could be in better shape. And it looks like EMI really took care of these masters. I got it home to find that it was pressed on a thinnish but perfectly pressed red vinyl. Would this be of the same source as The Beatles Jap Reds referred to in these posts?
Listen to Ringo's intro on What You're Doing. All of these reissues have been absolute top notch. Pressings centered, flat and quiet. I've had the Parlophone two box Stereo version for nearly 40 years. The Beatles wouldn't sound this good through two speakers until "WA". That completely soured my experience and made me vow to not waste my time with any further reissues of it, unless it was the '64 Stereo mix.
Well, thanks to Mr. Fremer's review and this being the last LP in the set I needed to make up the Mono box on the installment plan, I bought it today. The sound is basically a 9 to my oft tortured ears. A significant improvement over the mushy low-fi first-issue CD. It's true, the Mono has the advantage of more resonant bass than its' Stereo counterpart.
What it IS missing is some of the little production touches I like so much from the Stereo. George's close-miked AC on "Honey Don't". It sounds something like THIS happened. If he wants to sound like he's singing inside a pyramid, well indulge him this time.
I'm gittin' 'em and that's that! No buyers remorse over the Mono, however. Search form Search. Analog Corner. News News Analog Gear News. Log in or register to post comments. Age of the tapes Submitted by wao62 on Tue, Interestingly, the age of the tapes have not seemed to be an issue! Mono mix Submitted by PaulK on Tue, Dynamics Submitted by Michael Fremer on Tue, If it's dynamically compressed in the mix there's no way to restore or improve it.
I so like the cohesion I can forgive the compression. Getting mono out of my turn table Submitted by KeithWrites on Tue, I've had enough of these threads, and they do seem to be going in circles.
I hereby bid all fellow Beatlephiles a fair 'Adieu', and I'll see you in other threads BuckNaked , Jan 24, Grant , Doug Sclar , Paul H and 1 other person like this. Location: Milwaukee. I love this gorgeous set. Terry , Jan 24, Headfone likes this. Location: Grayslake, Illinois. Maffune , peter , Hamhead and 1 other person like this. That said, I, like JJ, am happy to have good-sounding and good-looking versions of what I grew up with.
I like it so much, in fact, that I will be selling my mono, stereo, and Capitol boxes! AlecA , Jan 24, TonyACT likes this. Location: Pasadena, TX. I voted that it's okay. If it had all of the U. My overall impression is that there's some unfinished business here. Sidewinder43 , Jan 24, Location: Sofia, Bulgaria.
I voted "Like it Instead of "The Beatles' story", which I feel is completely useless, I would prefer to have some "US Past Masters" CD containing all the songs not included in the albums up to '66, plus some other later unique mixes or "Holywood Bowl". But otherwise I love this set, it's a real joy. Location: Yokosuka, Japan. I said it in the other thread and I'll say it again. As a physical box set, this is a work of art and a thing of beauty, perhaps surpassing the mono box in its level of detail and quality.
Ringo drumming, no tambourine see Love Me Do . EMI practice at this time was not to keep the session master once mixing was complete, and in this case the mono mix master tape [a] was lost by the end of and replaced by Love Me Do  on all further releases.
The vinyl transfer [a1] on Capitol's Rarities is from a slightly noisy 45rpm copy owned by EMI and sent to Capitol intended as a reference but used as the best available copy. In a better 45rpm vinyl copy was made available to EMI by a collector just after EMI issued Love Me Do  on the twentieth anniversary single because they were unhappy with the quality of Love Me Do , which should have been used for authenticity.
The master [a2] made from this disk immediately became the standard and has been used ever since, most easily available on Past Masters. Oddly considering its generally better quality, [a2] has a little distortion noticeable on harmonica not heard on [a1], apparently caused during "declicking", so a further improved copy may be made someday.
Ringo on tambourine see Love Me Do . This was the "common" version until Past Masters 1 made the other version also easily available. George Martin does not recall substituting one version for another so it may have happened by error. No harmonica, and apparently Andy White drumming as on the other songs of this day. Like the Love Me Do outtake, this copy of an otherwise lost recording was found in perhaps another disk George Martin took home?
After this point, EMI started keeping master recording tapes by the Beatles. The five sections of harmonica are overdubs. Although it could have been done by recording harmonica into a complete second generation tape, Lewisohn, in Recording Sessions, refers to "harmonica edit pieces", and it sounds like there is an edit before the last of them.
They were certainly used as edit pieces for Please Please Me -- see below. Please Please Me  and  were made from different takes, although the five sections of harmonica are the same on both. I have the limited-edition " The Beatles in Mono " box set, but the mono LPs are also available individually.
To put some perspective on why I'm making a big deal about this, almost all new LPs by today's bands are mastered from digital sources, even when they were originally analog recordings! Digital is cheaper and faster technology. Analog tapes are delicate, locating an analog tape machine in tip top condition isn't easy, and mastering all-analog LPs can be a big hassle.
Generations of engineers have grown up with digital -- they don't always have the skill set required to get the best out of analog tapes. That's why the latest Beatles mastering job was performed at Abbey Road Studios by engineer Sean Magee and mastering supervisor and all-around nice guy Steve Berkowitz. For this vinyl project Magee and Berkowitz cut the records with the original analog tape masters, and no digital converters were used.
Magee and Berkowitz worked in the same room at Abbey Road where most of The Beatles' albums were cut in the s, guided by the sound of the first-generation albums and detailed transfer notes made by the original cutting engineers. I much prefer the loud cowbell in the stereo mix of Drive My Car and find it fills a space. I also much prefer the ending lick in the Stereo What Goes On. The Double Tracking in Wait doesn't sit right with me, I always imagined those parts of the song as a kind of aside so I feel they are a bit overdone when they are doubled.
I prefer the dry version of Girl because it adds to the feeling of isolation which mirrors the lyrics. OneStepBeyond and Brodnation like this. Is it possible for you to make this available on Spotify? Darienzo , Mar 10, Darienzo likes this. Location: Wales formerly Leicester UK. OneStepBeyond , Mar 11, FJFP likes this. Last edited: Mar 11, FJFP , Mar 11, OneStepBeyond likes this.
OneStepBeyond , Mar 12, Hi all! Sorry about the delay, but I ran in to some uploading issues on Mixcloud for this show. The good news however We're a podcast! Awaiting Apple verification, but we're live on Spotify, and Episode 2 is now here to celebrate - at twice the length of episode 1!Sgt. Pepper’s Lonely Hearts Club Band’s stereo mix as a 1 LP gram black vinyl. Produced by Giles Martin for this year’s universally heralded ‘Sgt. Pepper’ Anniversary Edition releases, the album’s new stereo mix was sourced directly from the original four track session tapes and guided by the original, Beatles preferred mono mix produced by Giles’ father, George Martin/5(6).