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A 1987 interview with George Martin by Allan Kozinn
This interview with Beatles producer George Martin was conducted by New York Times writer Allan Kozinn on Feb. 23, 1987 for an Arts & Leisure section article (published March 8, 1987) about the release of the first four albums on CD. A version of this interview also appeared in Beatlefan in 1987. We graciously thank Allan for providing us with this interview.
Copyright by Allan Kozinn.
ALLAN KOZINN: I understand your reasoning about the mono mixes of the first two albums, those are clearly more solid and punchy in mono. I'm not sure I understand why "Hard Day's Night" and "Beatles for Sale" are out in mono, though.
GEORGE MARTIN: Expediency, I think, in a word. Because I wasn't brought into this until December, by which time EMI had made up their mind what they were going to do, and they really consulted me I suppose out of old fashioned courtesy -- saying, you know, "don't you think we've done rather a good job?" And when I heard what they'd done, I thought they were dreadful. They had presented me with the stereo versions. And I told them that if they had to issue any stereo versions, they should be specially looked at, particularly in these early cases, and I don't think the first two should have been put out in stereo at all. And I think that because they had so little time, they said, well look, we'll put them all out in mono, and if you like you can have another look at them, and maybe number three and four can be transcribed for stereo later on. Now, this was because they had a date to adhere to, and they had to press up a great many records, and I guess they had to make some kind of decision, which they made. And at that time, they also asked me to look at the next batch of records, which is, "Help!" "Rubber Soul" and "Revolver," which are due to come out in April. And I looked at those and found that the stereos of that weren't very good. They were very woolly, and not at all what I thought should be a good issue. I went back to the four-tracks on those and actually did remix them -- not changing anything, but hardening up the sound a little bit, and cutting down a little background noise. By going back to the four tracks, we get a cleaner sound even than you can get with contemporary recording, because four-track one-inch is a much better medium than 24 track two-inch.
ALLAN KOZINN: How possible is it to precisely recreate a mix that you had done 20 years ago from a four track?
GEORGE MARTIN: It's impossible. In a word, it's impossible. Everything is different. The [mixing] desks in those days were tube operated, they weren't transistorized. All the outboard gear that we have today didn't exist. The EQ characteristics are quite different, much cruder. The echo facilities in Abbey Road consisted of a long cellar like room with old drain pipes standing around; they had nothing like electronic echo at all. So yes, it's impossible to get exactly the same, no matter how much you try. But in fact, I think it would be wrong in any case to get the same mix. The mixes that I did in 1964 were fine for vinyl, issued in 1964. When you hear them on CD, they're not fine. Now the reason for this is that you hear a wider frequency range on CD, and you're hearing things that I never intended you to listen to in the first place, in 1964. I was making a record that was designed to cut through the fog of the players of those days. What I'm saying is that the mixes I did then, when they're heard in the form they were done then were fine; but if you're hearing them as CDs, they should be different in order to be the same.
ALLAN KOZINN: Okay, but by now people have heard those mixes on the Mobile Fidelity half-speed mastered pressings, which are probably as clean an LP pressing as you're going to hear. And they let you hear quite a lot of what's on those masters.
GEORGE MARTIN: I don't think those Master pressings are right, I don't approve of those master pressings.
ALLAN KOZINN: Really?
GEORGE MARTIN: Really. What they were trying to do there, and again, those were done without either the Beatles or myself being involved, what they were trying to do is trying to get the same kind of thing you have on CD, but without the CD itself. And I think they forgot that in translating those to the master pressings, the EQs that were being used were appropriate not for that medium, but for the earlier medium. In other words, what you tend to hear in that way, and in fact, what you're hearing even on the CD you're getting now, is a rather harsher sound than was intended.
ALLAN KOZINN: You said that they put out "A Hard Day's Night" and "Beatles for Sale" in mono because of expediency, and because they had a date to meet. But didn't they know, in the four years CD has been out, that they would eventually have to put these things on CD? Didn't they make any kind of provision for having them ready? Wouldn't that have made sense?
GEORGE MARTIN: Well, Mr. Kozinn, I haven't worked for EMI since 1965 -- it's no good asking me that. I'm asking the same question!
ALLAN KOZINN: I was just wondering if I was being fair to EMI in feeling that they jumped into the CD series unprepared, which is the way it looks.
GEORGE MARTIN: I think the CDs do sound, great, I'm just being a little nit-picky.
ALLAN KOZINN: As a collector, I like having both the stereo and mono mixes of everything, because there are cases where there are different vocal takes, different instrumental balances, and that kind of thing.
GEORGE MARTIN: The first two albums, though, you must admit are an absolute horror.
ALLAN KOZINN: Well, it depends. Sure, they sound a lot more solid in mono. But I kind of like being able to look into the instrumental and vocal arrangement in the kind of detail you get on those old stereo mixes.
GEORGE MARTIN: Ah, well, in that case, you'd like to back to the multitracks, or even the individual mike placings when we actually recorded it!
ALLAN KOZINN: Yes, please....
GEORGE MARTIN: It's fascinating to me, actually, on these later albums, of going back to the original four tracks, and remembering. It all came flooding back what we used to do, and remembering -- because even four tracks was pretty limited, as you can imagine, and I tended to put bass and drums on one track, guitars and another, and then vocals with backing vocals on the third track, and keep the fourth track up my sleeve for possible double tracking or solo work. And that still puts an awful lot of responsibility in running the mix right on any one individual track. So that when we come back to recreate it years later, there are not tremendous amounts we can do. Which is just as well, perhaps. But it is fascinating listening to all those--you listen to the outtakes, you listen to the endless tucks and tails, and a lot of times I was in the studio performing with them, and I hear John's voice talking to me, and me talking back, and it's been absolutely fascinating. I've been going back to my youth.
ALLAN KOZINN: In any case, are you mixing them for stereo for the rest of the series?
GEORGE MARTIN: Not necessarily. I have done these particular ones because I thought they were worthy of it. I think they were not the best. See, I was learning too. When I started in 1962 with the Beatles, we only made mono records. By the time 1967 came along, with Pepper and so on, I'd got five years experience and I was able to make a fairly good stereo record. But in the interval, I was learning how to do it. I was experimenting. I was putting voices on one side or the other, I was trying all sorts of different things. And some of those experiments didn't work out well. And in fact, "Help!" in particular was a very rushed album, because of the pressures of the film, I think it sounded a bit rushed, and I just want it to be a bit better than it was. It's pride I guess that makes me say that.
ALLAN KOZINN: I've heard that part of "Rubber Soul" was not thoroughly mixed because EMI demanded the tapes to be out in time by Christmas release and that you didn't have time to finish them. Some tracks are mixed beautifully, and others are actually like "Please Please Me" mixes, with the instruments on one side and the vocals on the other.
GEORGE MARTIN: That's right, well this is the thing I'm telling you about, when I listened to them again, I thought, "did I really do that?"
ALLAN KOZINN: What I've heard, in terms of "Rubber Soul," was that EMI had demanded it so quickly that you hadn't had time to finish mixing.
GEORGE MARTIN: No, that's not true. Putting a voice on the right hand side doesn't make a record more quick to produce. In fact, there is a reason for it which becomes apparent after a while. One of the things we were struggingling with in the days of "Rubber Soul" was the eventual issue of stereo records and how it was going to vary between mono and stereo. When we started in 62 and 63, mono was the only thing. Gradually, stereo came in, very few people had it, rather like CD in England today; and the first albums, if you sold five percent of your total in stereo form, you were lucky. Gradually that balance changed. There came a point where, instead of doing separate mono and stereo mixes, which I always did, we were looking to produce a stereo only mix.
ALLAN KOZINN: And that didn't happen until "Yellow Submarine," which is the same in both formats.
GEORGE MARTIN: Well, I was working towards it.
ALLAN KOZINN: Still, even as late as the "White Album," you've got a different violin solo in "Don't Pass Me By," the airplanes coming in at different times in "Back in the USSR." They were clearly still entirely separate mixes.
GEORGE MARTIN: Yes, we were still doing different things then, but I was still working towards the compatibility, and in fact my attempts on "Rubber Soul" were to find a decent mono result from a stereo record. As you know, if you put something in the center, it comes up four dB louder in mono than it does in stereo. But if you tend to balance your things between one side and the other....And also, I was aware in those days that the majority of record players in the home were built into kind of sideboards, where the speakers were about three feet apart, and the stereo picture was a very near mono one anyway. So I exaggerated the stereo to get a clearer effect. These were experiments. It wasn't a question of rushing, I really was trying all sorts of things.
ALLAN KOZINN: Brian Southall told me the other day that the very first two albums were not released in stereo until much later.
GEORGE MARTIN: That's right.
ALLAN KOZINN: However, I've found some early Parlophone advertisements -- including one in a 1963 tour program -- that not only gives the mono and stereo catalogue numbers, but shows photos of the stereo album covers. They do seem to have been released simultaneously. (Note: To see the ads Allan is referring to, click here and also click right here.)
GEORGE MARTIN: [silence] I can't believe that. We issued "Please Please Me" in February 1963, and certainly no stereo mixes were made. Not by me. Not by anybody I know.
[Editor's note: "Please Please Me" was released in March 1963 in mono and April 1963 in stereo; the studio paperwork lists Martin as the producer on the day when both mixes were made.]
ALLAN KOZINN: Well, I have another advertisement that shows "Please Please Me," the "Twist and Shout" EP and the "She Loves You" single -- which, taken together, would place that ad in about August 1963 -- and again, it gives the stereo catalogue number for the album.
GEORGE MARTIN: You have the advantage of me. I was not aware of a stereo album being produced. I thought it had been done after I left in 1965. Certainly I wasn't aware of it at the time. Now, that may seem extraordinary to you, but in 1963 I don't even think I had time to have breakfast. Certainly I didn't do the stereo mixes, and neither did the Beatles. Some geezer at EMI probably looked at this and said, for the minority of stereo people around, we'd better put out a stereo record.
ALLAN KOZINN: Back to the CD remixes. You've done the next three; will "Sgt. Pepper" then be the original mix?
GEORGE MARTIN: I'm certain it will be, and I'm certain that from then on all the mixes will be the originals, except that I don't want them to go out unadulterated. I think the EQs on the CDs may be wrong, so I'd like to look at them and see that they are not quite as strident, or coarse as they might be.
ALLAN KOZINN: What are the possibilities of a mono "Pepper" and a mono "White Album" coming out on CD?
GEORGE MARTIN: Highly unlikely I'd think. Why, do you like the mono albums?
ALLAN KOZINN: Well, yes, but it's not a matter of preference, necessarily. It's just that there are some interesting differences. John's vocal on "Lucy in the Sky," for instance, has that nice echoey phase-shifted sound that's perfect for the song. "She's Leaving Home" is sped up a bit, and doesn't drag as much in mono as in stereo. And in the intro to the "Sgt. Pepper" Reprise, there's an extra bar of drum beats.
GEORGE MARTIN: Ah yes. That was probably cut out to make it tighter. We used to do an awful lot of changing our minds at the last moment, and doing different things, mainly because we didn't think it was that important to be consistent. Of course, history found us out. But again, because I very rarely go back and listen -- I haven't listened to Beatle records for 20 years. You know, once I made the record, that was it, I'd always move on to the next thing. And I always look ahead rather than back, so this has been a strange time, going back. And I know the people who have been aware of all these discrepancies and differences, and I've said to them, well, good luck. If they want to make something out of it, that's fine. And of course, fueling that have been all the myths that have arisen too, and I've sort of looked at that and chuckled. So I've looked at it rather quaintly. I don't think it's all that significant. But I can see that it does cause a certain amount of consternation from people who devote their lives to analyzing the differences.
ALLAN KOZINN: I don't think it's a matter of consternation, actually. It's one of the things that makes collecting fun. Finding differences and oddities....
GEORGE MARTIN: Yeah, I guess so. I can understand that. It's rather like finding a rare coin and finding that the milled edge is missing one point, that kind of thing. So I guess, the question of mono issues--Bhaskar Menon spoke to me about this, generally, when I was called in to review the things, and he pointed out that to issue mono and stereo of everything would be a little bit of a problem from a practical point of view--of stock within shops, of manufacture, and obviously, it would give everybody much less of a headache if there was just one version.
ALLAN KOZINN: I understand that. However, until you get up to "Sgt. Pepper," which runs about 39 minutes, you can actually fit both the mono and stereo mixes of each album on one CD.
GEORGE MARTIN: Are you saying we should do a double album on each one?
ALLAN KOZINN: Well, yeah, because it's the same material just sequenced over again in a variant mix. It's not like making of two-fer of, say, "Please Please Me" and "With the Beatles." Collectors would be happy to have both mixes, and EMI wouldn't have to feel it was giving anything away.
GEORGE MARTIN: It's not a bad idea. I'll put it to Bhaskar and see what he says about it. It's an idea that hasn't been presented to me before. I don't see any reason why it shouldn't happen. There may be complications, if the Beatles want to be paid double royalties -- because of that you might have a problem. Or even copyright royalties. There may be a law that says if you do two performances you have to pay twice as much, I don't really know. But I'll certainly mention it to him.
ALLAN KOZINN: Great. Well, I think that covers it for now. Thank you very much.En gruppe journalister ble invitert inn i Abbey Road studios..
A sneak preview of the digitally remastered Beatles catalogue
After the films came the main act - the remastered discs. We were treated to a range of songs - Can't Buy Me Love, Yesterday, In My Life, Come Together, Here Comes the Sun among them - played first from the current CD and then from the remastered version.
Apple seemed nervous that some wouldn't be able to tell the difference. So I was surprised by how much difference there was.
We were told that the process was a little like removing the lint and allowing the performances to shine more clearly. And that was a good description.
The tracks are clearer and cleaner. In the case of Can't Buy Me Love, in particular, a very distracting fuzziness to the intro has disappeared.
The new versions are clearly superior. And the remastering was overdue
Is it a sufficient difference to make it worth replacing your old CDs? Well, I will. It isn't necessary, but if you listen to the Beatles a good deal, then it is worth it.
The remastered discs will also come, I understand, with irresistible packaging, booklets, and, of course, the mini-docs.
http://timesonline.typepad.com/comm...se-the-entire-beatles-catalogue--all-the.html
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Dette understøttes av hva andre også har hørt som har fått en liten smakelytt. Klarere, renere og mer punchy lyd. Fremfor alt er nå bassen tilbake, den som stort sett er fraværende på original CD'ene fra 1987. Er ikke det temmelig ironisk...på de nye remasters er det ikke brukt No-Noise og nå låter de renere og klarere enn noensinne. ;D
Gå inn på thebeatles.com og se minidocumentaren om "the making of Revolver", der får du en ide om hvordan de nye CD'ene låter. Det jeg hører er absolutt lovende!
For de utstyrskåte; kan jo legge til at når denne jobben skulle gjøres hos Abbey Road, valgte George & Giles Martin å bytte ut Abbey`s eksisterende utstyr med Adam S3A aktive høyttalere m/klasse D forsterkere for å få den rette lyden.Espen R skrev:
Ref. Sound On Sound, Mars 2007 (George & Giles Martin - Remixing the Beatles)
George og Giles er ikke involvert i Beatles re-masters.HåkonN skrev:
Annet studiorom, andre teknikere.
Hvor står dette om D-forsterkere?
http://www.soundonsound.com/sos/mar07/articles/beatles.htm
I den artikkelen - under The Tools For The Job. De fleste større/dyrere Adam høyttalerne er basert på klasse D.Espen R skrev:
Samme høyttalere bli forøvrig brukt da det skulle spilles inn/remastre multikanalsinnspilling av Herbert von Karajan. Høyttalerne ble plassert i de 2 mest kjente konsertsalene i Berlin og Vienna. Lyden ble spilt av i stereo og tatt opp igjen i flere kanaler.
Mao høyttalerne gjengir lyd så realistisk at de blir valgt til å gjengi the real thing i ekte konserthus. Dette er state of the art høyttalere som brukes i en lang liste av de mest annerkjente studioene i verden, så det er ikke noe dårlig selskap å være i.
Ref. Peter Cobbin er nå disse høyttalerene fast inventar Abbey`s studio 3 og det blir sagt at de skal bli tilgjengelig også i de andre studioene.
Beklager blandingen mellom disse re-masterne. Beatles utgivelser er (ganske åpenbart) ikke min sterke side. Hvilket studio brukes på de siste remaster-utgavene?Vvredensgnag
Gjest
Arbeidet med de nye remasterne har foregått på Abbey Road, og tok fire år.Espen R skrev:
B&W brukes også til playback for artistene i studio.
U2 mastret visstnok en DVD på Nautilus 801.
I Studio 1 kontrollrommet har de 3 B&W 800D som monitorer.
Ellers foretrekker lydteknikerne Quested monitorer for stereo (studio 2 og 3); men i studio 3 er det også et 5.1 oppsett med B&W 800D.
Siden du skrev at miksingen på de nye albumene foregikk i et annet studio, regnet jeg nesten med at du visste hvem.Espen R skrev:
Abbey Road bruker 801, men som jeg skrev over har de i senere tid kjøpt Adam i minst et studio. 801 er ingen typisk studiohøyttaler, så det overrasker ikke.Vvredensgnag
Gjest
Abbey Road bruker 800D fra B&W. 801 Nautilus ble brukt til en DVD-produksjon for U2.HåkonN skrev:
Siden du skrev at miksingen på de nye albumene foregikk i et annet studio, regnet jeg nesten med at du visste hvem.Espen R skrev:
Abbey Road bruker 801, men som jeg skrev over har de i senere tid kjøpt Adam i minst et studio. 801 er ingen typisk studiohøyttaler, så det overrasker ikke.
Men som jeg skriver rett ovenfor, så gjør de stereomiks på Quested monitorer i to av tre kontrollrom.
Fint med en link når det gjelder Adam. Meget interessant.
Ja, men ikke bare B&W. Et intervju med P.Cobbin hos Abbey:vredensgnag skrev:
"The problem with control rooms is that as a rule they have never been designed from scratch for surround sound and because they are large it is very difficult to find a suitable placement for a small secondary system. And I think it is very important to listen to a secondary system whilst mixing. So I decided to set up a 'lounge' area or environment in the studio which proved to be incredibly successful."
Did the 'lounge set up' change any of your mix decisions?
Yeah Absolutely, I think there is always the psychological thing kicking in where you're sitting in a lounge chair. Somehow the mind switches over, you are not in front of the console, you don't see any knobs, switches or faders and you can focus in on the music very easily. To be able to do that in the surround format was wonderful. In fact, I had a couple of playback sessions with some of the guys from the band (U2) and the combination of the S3a's and the lounge environment definitely influenced some of our decisions."
Mulig, men siste DVD`en ble mikset på S3A.vredensgnag skrev:
"But the crunch or acid test was to hear them on a Rock'n'Roll project. Because that's the other requirement for me, to be able to have something that works with pop/rock music as well as orchestral or classical/film as I am involved in the whole gamut. This is why I then tried them with the U2 project which I was mixing (which is for their live DVD due out later this year). "
Ut i fra bildene ser det ut til å være 801D i Studio 3.vredensgnag skrev:
Og etter å ha satt opp et 5.1 sett med aktive høyttalere i samme rom skriver Peter Cobbin:
"So, having tried the S3a's in stereo I thought I would try them out in 5.1 and I was absolutely blown away by the generous sound field in a surround context."
Peter Cobbin er forøvrig en av de mest annerkjente 5.1 lydteknikerene i verden, og har blant annet mikset lydsporet til Lord of the Rings.
Vvredensgnag
Gjest
Gå inn på nettsidene deres - de har gjort om setup. Står beskrevet hva de har i de ulike kontrollrommene. Nå er det 800D.
Presiserer: de har også noen B&W som de triller inn i selve studio, for å bruke som playback ht for artistene.
Interessant dette med Adam. Men det er jo Klasse D, så det er enten for sprøtt, tørt, varmt eller bløtt/soft. ;D
Jeg vet Abbey bruker 800-series fra B&W (og Classè forsterkere). Det spekuleres litt på det i bransjen, da det ikke akkurat er typisk med denne type høyttalere i studio. B&W bruker det for alt det er verdt mot konsumer-markedet, og liker å assosiere seg mot Abbey og studiobruk. I realiteten er det svært få studioer som velger å bruke denne type utstyr. Vil man spekulere er neppe helt tilfeldig at både forsterkere og høyttalere leveres av B&W konsernet til englands mest kjente studio, og ikke minst i så store mengder.vredensgnag skrev:
Ja, linken var det ja....
http://www.adam-audio.de/news/abbeyroad.htmlVvredensgnag
Gjest
Oppe på veggen ser du Quested HM412, som er den mest analytiske og detaljfrika monitoren til Quested. Bildet ditt er fra studio 3
B&W stod vel på en hydraulisk lift, om jeg husker rett, for å bli løftet opp i posisjon?
B&W har gjort det samme på Rainbow, og plassert ut ht og Classé amp. Markedsføring. Lydteknikerne på Abbey Road bruker Quested monitorene, og nå også disse fra Adam skjønner jeg (Må bli trangt i studio 3). Og de bruker, såvidt jeg vet, B&W til gjennomlytt av ferdig miks. Kunne vært interessant å få litt mer detaljer omkring dette.
På en annen side - det finnes flere studioer i verden enn Abbey. Her er noen av de; http://www.adam-audio.pl/users/users.htmvredensgnag skrev:
Og et annet bruksområde: http://www.adam-audio.de/downloads/KarajanVSbeatles_E.pdf
Men dette er vel litt OT. Jeg tok åpenbart feil om hvilken remaster det var, og jeg finner ingenting om hvilket utstyr de nye utgivelsene blir mikset på.Vvredensgnag
Gjest
Enda mer OT.
Hva vet vel George Martin om vinyl?
GEORGE MARTIN: ... The mixes that I did in 1964 were fine for vinyl, issued in 1964. When you hear them on CD, they're not fine. Now the reason for this is that you hear a wider frequency range on CD ...En liten oppdatering på Beatles remasters.
På forumet til Steve Hoffman har de nå kommet til Beatles remasters, part 9. Det vil med andre ord si at det er postet noen tusen innlegg som spekulerer i hvordan disse remasters vil låte.
Etterhvert er det noen som har fått høre små klipp her og der fra remasters. Gjennomgående er folk veldig fornøyd og sier at lyden er fantastisk bra. Og vi blir servert stereomixene fra 60-tallet på "Help" og "rubber soul", ikke 1987 re-mixene.
Vil det være en annen mastring på White Album enn den på jubileumscd'en? Noen som vet?The Beatles Stereo Box
Album 1 - Please Please Me
1. I Saw Her Standing There (2009 Digital Remaster)
2. Misery (2009 Digital Remaster)
3. Anna (Go To Him) (2009 Digital Remaster)
4. Chains (2009 Digital Remaster)
5. Boys (2009 Digital Remaster)
6. Ask Me Why (2009 Digital Remaster)
7. Please Please Me (2009 Digital Remaster)
8. Love Me Do (2009 Digital Remaster)
9. P.S. I Love You (2009 Digital Remaster)
10. Baby It's You (2009 Digital Remaster)
11. Do You Want To Know A Secret (2009 Digital Remaster)
12. A Taste Of Honey (2009 Digital Remaster)
13. There's A Place (2009 Digital Remaster)
14. Twist And Shout (2009 Digital Remaster)
15. Please Please Me Documentary (Quicktime)
Album 2 With The Beatles
1. It Won't Be Long (2009 Digital Remaster)
2. All I've Got To Do (2009 Digital Remaster)
3. All My Loving (2009 Digital Remaster)
4. Don't Bother Me (2009 Digital Remaster)
5. Little Child (2009 Digital Remaster)
6. Till There Was You (2009 Digital Remaster)
7. Please Mr Postman (2009 Digital Remaster)
8. Roll Over Beethoven (2009 Digital Remaster)
9. Hold Me Tight (2009 Digital Remaster)
10. You Really Got A Hold On Me (2009 Digital Remaster)
11. I Wanna Be Your Man (2009 Digital Remaster)
12. Devil In Her Heart (2009 Digital Remaster)
13. Not A Second Time (2009 Digital Remaster)
14. Money (That's What I Want) (2009 Digital Remaster)
15. With The Beatles Documentary (Quicktime)
Album 3 A Hard Days Night
1. A Hard Day's Night (2009 Digital Remaster)
2. I Should Have Known Better (2009 Digital Remaster)
3. If I Fell (2009 Digital Remaster)
4. I'm Happy Just To Dance With You (2009 Digital Remaster)
5. And I Love Her (2009 Digital Remaster)
6. Tell Me Why (2009 Digital Remaster)
7. Can't Buy Me Love (2009 Digital Remaster)
8. Any Time At All (2009 Digital Remaster)
9. I'll Cry Instead (2009 Digital Remaster)
10. Things We Said Today (2009 Digital Remaster)
11. When I Get Home (2009 Digital Remaster)
12. You Can't Do That (2009 Digital Remaster)
13. I'll Be Back (2009 Digital Remaster)
14. A Hard Day's Night Documentary (Quicktime)
Album 4 Beatles For Sale
1. No Reply (2009 Digital Remaster)
2. I'm A Loser (2009 Digital Remaster)
3. Baby's In Black (2009 Digital Remaster)
4. Rock And Roll Music (2009 Digital Remaster)
5. I'll Follow The Sun (2009 Digital Remaster)
6. Mr Moonlight (2009 Digital Remaster)
7. Kansas City/Hey-Hey-Hey-Hey (2009 Digital Remaster)
8. Eight Days A Week (2009 Digital Remaster)
9. Words Of Love (2009 Digital Remaster)
10. Honey Don't (2009 Digital Remaster)
11. Every Little Thing (2009 Digital Remaster)
12. I Don't Want To Spoil The Party (2009 Digital Remaster)
13. What You're Doing (2009 Digital Remaster)
14. Everybody's Trying To Be My Baby (2009 Digital Remaster)
15. Beatles For Sale Documentary (Quicktime)
Album 5 Help!
1. Help! (2009 Digital Remaster)
2. The Night Before (2009 Digital Remaster)
3. You've Got To Hide Your Love Away (2009 Digital Remaster)
4. I Need You (2009 Digital Remaster)
5. Another Girl (2009 Digital Remaster)
6. You're Going To Lose That Girl (2009 Digital Remaster)
7. Ticket To Ride (2009 Digital Remaster)
8. Act Naturally (2009 Digital Remaster)
9. It's Only Love (2009 Digital Remaster)
10. You Like Me Too Much (2009 Digital Remaster)
11. Tell Me What You See (2009 Digital Remaster)
12. I've Just Seen A Face (2009 Digital Remaster)
13. Yesterday (2009 Digital Remaster)
14. Dizzy Miss Lizzy (2009 Digital Remaster)
15. Help! Documentary (Quicktime)
Album 6 Rubber Soul
1. Drive My Car (2009 Digital Remaster)
2. Norwegian Wood (This Bird Has Flown) (2009 Digital Remaster)
3. You Won't See Me (2009 Digital Remaster)
4. Nowhere Man (2009 Digital Remaster)
5. Think For Yourself (2009 Digital Remaster)
6. The Word (2009 Digital Remaster)
7. Michelle (2009 Digital Remaster)
8. What Goes On (2009 Digital Remaster)
9. Girl (2009 Digital Remaster)
10. I'm Looking Through You (2009 Digital Remaster)
11. In My Life (2009 Digital Remaster)
12. Wait (2009 Digital Remaster)
13. If I Needed Someone (2009 Digital Remaster)
14. Run For Your Life (2009 Digital Remaster)
15. Rubber Soul Documentary (Quicktime)
Album 7 - Revolver
1. Taxman (2009 Digital Remaster)
2. Eleanor Rigby (2009 Digital Remaster)
3. I'm Only Sleeping (2009 Digital Remaster)
4. Love You To (2009 Digital Remaster)
5. Here, There And Everywhere (2009 Digital Remaster)
6. Yellow Submarine (2009 Digital Remaster)
7. She Said She Said (2009 Digital Remaster)
8. Good Day Sunshine (2009 Digital Remaster)
9. And Your Bird Can Sing (2009 Digital Remaster)
10. For No One (2009 Digital Remaster)
11. Doctor Robert (2009 Digital Remaster)
12. I Want To Tell You (2009 Digital Remaster)
13. Got To Get You Into My Life (2009 Digital Remaster)
14. Tomorrow Never Knows (2009 Digital Remaster)
15. Revolver Documentary (Quicktime)
Album 8 Sgt Peppers Lonely Hearts Club Band
1. Sgt Pepper's Lonely Hearts Club Band (2009 Digital Remaster)
2. With A Little Help From My Friends (2009 Digital Remaster)
3. Lucy In The Sky With Diamonds (2009 Digital Remaster)
4. Getting Better (2009 Digital Remaster)
5. Fixing A Hole (2009 Digital Remaster)
6. She's Leaving Home (2009 Digital Remaster)
7. Being For The Benefit Of Mr Kite! (2009 Digital Remaster)
8. Within You Without You (2009 Digital Remaster)
9. When I'm Sixty Four (2009 Digital Remaster)
10. Lovely Rita (2009 Digital Remaster)
11. Good Morning Good Morning (2009 Digital Remaster)
12. Sgt Pepper's Lonely Hearts Club Band (Reprise) (2009 Digital Remaster)
13. A Day In The Life (2009 Digital Remaster)
14. Sgt. Pepper's Lonely Hearts Club Band Documentary (Quicktime)
Album 9 Magical Mystery Tour
1. Magical Mystery Tour (2009 Digital Remaster)
2. The Fool On The Hill (2009 Digital Remaster)
3. Flying (2009 Digital Remaster)
4. Blue Jay Way (2009 Digital Remaster)
5. Your Mother Should Know (2009 Digital Remaster)
6. I Am The Walrus (2009 Digital Remaster)
7. Hello, Goodbye (2009 Digital Remaster)
8. Strawberry Fields Forever (2009 Digital Remaster)
9. Penny Lane (2009 Digital Remaster)
10. Baby, You're A Rich Man (2009 Digital Remaster)
11. All You Need Is Love (2009 Digital Remaster)
12. Magical Mystery Tour Documentary
Album 10 The Beatles (White Album)
Disc 1
1. Back In The U.S.S.R. (2009 Digital Remaster)
2. Dear Prudence (2009 Digital Remaster)
3. Glass Onion (2009 Digital Remaster)
4. Ob-La-Di, Ob-La-Da (2009 Digital Remaster)
5. Wild Honey Pie (2009 Digital Remaster)
6. The Continuing Story Of Bungalow Bill (2009 Digital Remaster)
7. While My Guitar Gently Weeps (2009 Digital Remaster)
8. Happiness Is A Warm Gun (2009 Digital Remaster)
9. Martha My Dear (2009 Digital Remaster)
10. I'm So Tired (2009 Digital Remaster)
11. Blackbird (2009 Digital Remaster)
12. Piggies (2009 Digital Remaster)
13. Rocky Raccoon (2009 Digital Remaster)
14. Don't Pass Me By (2009 Digital Remaster)
15. Why Don't We Do It In The Road? (2009 Digital Remaster)
16. I Will (2009 Digital Remaster)
17. Julia (2009 Digital Remaster)
Disc 2
1. Birthday (2009 Digital Remaster)
2. Yer Blues (2009 Digital Remaster)
3. Mother Nature's Son (2009 Digital Remaster)
4. Everybody's Got Something To Hide Except Me And My Monkey (2009 Digital Remaster)
5. Sexy Sadie (2009 Digital Remaster)
6. Helter Skelter (2009 Digital Remaster)
7. Long, Long, Long (2009 Digital Remaster)
8. Revolution 1 (2009 Digital Remaster)
9. Honey Pie (2009 Digital Remaster)
10. Savoy Truffle (2009 Digital Remaster)
11. Cry Baby Cry (2009 Digital Remaster)
12. Revolution 9 (2009 Digital Remaster)
13. Good Night (2009 Digital Remaster)
14. The Beatles Documentary (Quicktime)
Album 11 Yellow Submarine
1. Yellow Submarine (2009 Digital Remaster)
2. Only A Northern Song (2009 Digital Remaster)
3. All Together Now (2009 Digital Remaster)
4. Hey Bulldog (2009 Digital Remaster)
5. It's All Too Much (2009 Digital Remaster)
6. All You Need Is Love (2009 Digital Remaster)
7. Pepperland (2009 Digital Remaster)
8. Sea Of Time (2009 Digital Remaster)
9. Sea Of Holes (2009 Digital Remaster)
10. Sea Of Monsters (2009 Digital Remaster)
11. March Of The Meanies (2009 Digital Remaster)
12. Pepperland Laid Waste (2009 Digital Remaster)
13. Yellow Submarine In Pepperland (2009 Digital Remaster)
14. Yellow Submarine Documentary
Album 12 Abbey Road
1. Come Together (2009 Digital Remaster)
2. Something (2009 Digital Remaster)
3. Maxwell's Silver Hammer (2009 Digital Remaster)
4. Oh! Darling (2009 Digital Remaster)
5. Octopus's Garden (2009 Digital Remaster)
6. I Want You (She's So Heavy) (2009 Digital Remaster)
7. Here Comes The Sun (2009 Digital Remaster)
8. Because (2009 Digital Remaster)
9. You Never Give Me Your Money (2009 Digital Remaster)
10. Sun King (2009 Digital Remaster)
11. Mean Mr Mustard (2009 Digital Remaster)
12. Polythene Pam (2009 Digital Remaster)
13. She Came In Through The Bathroom Window (2009 Digital Remaster)
14. Golden Slumbers (2009 Digital Remaster)
15. Carry That Weight (2009 Digital Remaster)
16. The End (2009 Digital Remaster)
17. Her Majesty (2009 Digital Remaster)
18. Abbey Road Documentary (Quicktime)
Album 13 Let It Be
1. Two Of Us (2009 Digital Remaster)
2. Dig A Pony (2009 Digital Remaster)
3. Across The Universe (2009 Digital Remaster)
4. I Me Mine (2009 Digital Remaster)
5. Dig It (2009 Digital Remaster)
6. Let It Be (2009 Digital Remaster)
7. Maggie Mae (2009 Digital Remaster)
8. I've Got A Feeling (2009 Digital Remaster)
9. One After 909 (2009 Digital Remaster)
10. The Long And Winding Road (2009 Digital Remaster)
11. For You Blue (2009 Digital Remaster)
12. Get Back (2009 Digital Remaster)
13. Let It Be Documentary (Quicktime)
Album 14 Past Masters
Disc 1
1. Love Me Do (Original Single Version) (2009 Digital Remaster)
2. From Me To You (2009 Digital Remaster)
3. Thank You Girl (2009 Digital Remaster)
4. She Loves You (2009 Digital Remaster)
5. I'll Get You (2009 Digital Remaster)
6. I Want To Hold Your Hand (2009 Digital Remaster)
7. This Boy (2009 Digital Remaster)
8. Komm Gib Mir Deine Hand (2009 Digital Remaster)
9. Sie Liebt Dich (2009 Digital Remaster)
10. Long Tall Sally (2009 Digital Remaster)
11. I Call Your Name (2009 Digital Remaster)
12. Slow Down (2009 Digital Remaster)
13. Matchbox (2009 Digital Remaster)
14. I Feel Fine (2009 Digital Remaster)
15. She's A Woman (2009 Digital Remaster)
16. Bad Boy (2009 Digital Remaster)
17. Yes It Is (2009 Digital Remaster)
18. I'm Down (2009 Digital Remaster)
Disc 2
1. Day Tripper (2009 Digital Remaster)
2. We Can Work It Out (2009 Digital Remaster)
3. Paperback Writer (2009 Digital Remaster)
4. Rain (2009 Digital Remaster)
5. Lady Madonna (2009 Digital Remaster)
6. The Inner Light (2009 Digital Remaster)
7. Hey Jude (2009 Digital Remaster)
8. Revolution (2009 Digital Remaster)
9. Get Back (2009 Digital Remaster)
10. Don't Let Me Down (2009 Digital Remaster)
11. The Ballad Of John And Yoko (2009 Digital Remaster)
12. Old Brown Shoe (2009 Digital Remaster)
13. Across The Universe (2009 Digital Remaster)
14. Let It Be (2009 Digital Remaster)
15. You Know My Name (Look Up The Number) (2009 Digital Remaster)
DVD Mini-Docs
1. Please Please Me Documentary
2. With The Beatles Documentary
3. A Hard Day's Night Documentary
4. Beatles For Sale Documentary
5. Help! Documentary
6. Rubber Soul Documentary
7. Revolver Documentary
8. Sgt. Pepper's Lonely Hearts Club Band Documentary
9. Magical Mystery Tour Documentary
10. The Beatles Documentary
11. Yellow Submarine Documentary
12. Abbey Road Documentary
13. Let It Be Documentary
The Beatles Mono Box
The 1960's represented a time of great advances in technology and this was as true of music recording and reproduction as in everything else. During the period that The Beatles were recording (1962 - 1969) the primary format was Mono - the installed base of mono players was massive with stereo the preserve of hi-fi fanatics and some Easy Listening and classical purists. In fact, Mono was so important that the Beatles themselves (once they had started to take an interest in the physical production of their music) that they attended only the Mono mastering sessions. The stereo mastering was often done separately - sometimes quite a bit later and without their involvement. So for many, the mono masters are considered to be the pinnacle of audio reproduction of The Beatles - this is how they were meant to sound at the time given the importance of the single channel medium.
From Please Please Me to The Beatles (White Album), all the original mixes are represented here in full, glorious mono! The Past Masters CD has been recreated as Mono Masters to properly reflect this period. This set duplicates the Past Masters track listing with the exception of those tracks that only ever appeared in stereo. However, as an added bonus, five tracks, never previously released in mono, are included in the package. These are "Only A Northern Song", "All Together Now", "Hey Bulldog" and "It's All Too Much" all from the Yellow Submarine project plus "Across The Universe". These titles were originally scheduled for release on an EP in 1969. There is a fantastic essay in the Mono Masters booklet that explains in some detail the history of these recordings and which goes some way to highlight just why these versions are so eagerly anticipated.
With the collector in mind, both Help! and Rubber Soul discs now additionally contain bonus content in the shape of the original 1965 stereo mixes on CD for the first time, since Sir George Martin had actually remixed these for their CD debut in 1987 rendering these original mixes unavailable.
All the albums (apart from Mono Masters) come in their original vinyl-style packaging reduced in exquisite detail to CD-sized format. This includes everything from the recreation of the vinyl label (printed on the cd itself) to the paper inner sleeve replete with the original text. The jackets themselves are exact reproductions of the original UK vinyl releases and since they are being manufactured in Japan, they are of the very highest quality and had the very highest possible attention to detail in the production.
Apart from the first four albums (Please Please Me - Beatles For Sale) which have been available in mono on CD since 1987, the remaining titles are making their CD debut in this format and all plus the Mono Masters set have received the remastering treatment by a dedicated team of engineers and Abbey Road studios.
Album 1 Please Please Me
1. I Saw Her Standing There (Mono) (2009 Remaster)
2. Misery (Mono) (2009 Digital Remaster)
3. Anna (Go To Him) (Mono) (2009 Digital Remaster)
4. Chains (Mono) (2009 Digital Remaster)
5. Boys (Mono) (2009 Digital Remaster)
6. Ask Me Why (Mono) (2009 Digital Remaster)
7. Please Please Me (Mono) (2009 Digital Remaster)
8. Love Me Do (Mono) (2009 Digital Remaster)
9. P.S. I Love You (Mono) (2009 Digital Remaster)
10. Baby It's You (Mono) (2009 Digital Remaster)
11. Do You Want To Know A Secret (Mono) (2009 Digital Remaster)
12. A Taste Of Honey (Mono) (2009 Digital Remaster)
13. There's A Place (Mono) (2009 Digital Remaster)
14. Twist And Shout (Mono) (2009 Digital Remaster)
Album 2 With The Beatles
1. It Won't Be Long (Mono) (2009 Digital Remaster)
2. All I've Got To Do (Mono) (2009 Digital Remaster)
3. All My Loving (Mono) (2009 Digital Remaster)
4. Don't Bother Me (Mono) (2009 Digital Remaster)
5. Little Child (Mono) (2009 Digital Remaster)
6. Till There Was You (Mono) (2009 Digital Remaster)
7. Please Mr Postman (Mono) (2009 Digital Remaster)
8. Roll Over Beethoven (Mono) (2009 Digital Remaster)
9. Hold Me Tight (Mono) (2009 Digital Remaster)
10. You Really Got A Hold On Me (Mono) (2009 Digital Remaster)
11. I Wanna Be Your Man (Mono) (2009 Digital Remaster)
12. Devil In Her Heart (Mono) (2009 Digital Remaster)
13. Not A Second Time (Mono) (2009 Digital Remaster)
14. Money (That's What I Want) (Mono) (2009 Digital Remaster)
Album 3 A Hard Days Night
1. A Hard Day's Night (Mono) (2009 Digital Remaster)
2. I Should Have Known Better (Mono) (2009 Digital Remaster)
3. If I Fell (Mono) (2009 Digital Remaster)
4. I'm Happy Just To Dance With You (Mono) (2009 Digital Remaster)
5. And I Love Her (Mono) (2009 Digital Remaster)
6. Tell Me Why (Mono) (2009 Digital Remaster)
7. Can't Buy Me Love (Mono) (2009 Digital Remaster)
8. Any Time At All (Mono) (2009 Digital Remaster)
9. I'll Cry Instead (Mono) (2009 Digital Remaster)
10. Things We Said Today (Mono) (2009 Digital Remaster)
11. When I Get Home (Mono) (2009 Digital Remaster)
12. You Can't Do That (Mono) (2009 Digital Remaster)
13. I'll Be Back (Mono) (2009 Digital Remaster)
Album 4 Beatles For Sale
1. No Reply (Mono) (2009 Digital Remaster)
2. I'm A Loser (Mono) (2009 Digital Remaster)
3. Baby's In Black (Mono) (2009 Digital Remaster)
4. Rock And Roll Music (Mono) (2009 Digital Remaster)
5. I'll Follow The Sun (Mono) (2009 Digital Remaster)
6. Mr Moonlight (Mono) (2009 Digital Remaster)
7. Kansas City/Hey-Hey-Hey-Hey (Mono) (2009 Digital Remaster)
8. Eight Days A Week (Mono) (2009 Digital Remaster)
9. Words Of Love (Mono) (2009 Digital Remaster)
10. Honey Don't (Mono) (2009 Digital Remaster)
11. Every Little Thing (Mono) (2009 Digital Remaster)
12. I Don't Want To Spoil The Party (Mono) (2009 Digital Remaster)
13. What You're Doing (Mono) (2009 Digital Remaster)
14. Everybody's Trying To Be My Baby (Mono) (2009 Digital Remaster)
Album 5 Help!
1. Help! (Mono) (2009 Digital Remaster)
2. The Night Before (Mono) (2009 Digital Remaster)
3. You've Got To Hide Your Love Away (Mono) (2009 Digital Remaster)
4. I Need You (Mono) (2009 Digital Remaster)
5. Another Girl (Mono) (2009 Digital Remaster)
6. You're Going To Lose That Girl (Mono) (2009 Digital Remaster)
7. Ticket To Ride (Mono) (2009 Digital Remaster)
8. Act Naturally (Mono) (2009 Digital Remaster)
9. It's Only Love (Mono) (2009 Digital Remaster)
10. You Like Me Too Much (Mono) (2009 Digital Remaster)
11. Tell Me What You See (Mono) (2009 Digital Remaster)
12. I've Just Seen A Face (Mono) (2009 Digital Remaster)
13. Yesterday (Mono) (2009 Digital Remaster)
14. Dizzy Miss Lizzy (Mono) (2009 Digital Remaster)
15. Help! (Original Stereo Mix) (2009 Digital Remaster)
16. The Night Before (Original Stereo Mix) (2009 Digital Remaster)
17. You've Got To Hide Your Love Away (Original Stereo Mix) (2009 Digital Remaster)
18. I Need You (Original Stereo Mix) (2009 Digital Remaster)
19. Another Girl (Original Stereo Mix) (2009 Digital Remaster)
20. You're Going To Lose That Girl (Original Stereo Mix) (2009 Digital Remaster)
21. Ticket To Ride (Original Stereo Mix) (2009 Digital Remaster)
22. Act Naturally (Original Stereo Mix) (2009 Digital Remaster)
23. It's Only Love (Original Stereo Mix) (2009 Digital Remaster)
24. You Like Me Too Much (Original Stereo Mix) (2009 Digital Remaster)
25. Tell Me What You See (Original Stereo Mix) (2009 Digital Remaster)
26. I've Just Seen A Face (Original Stereo Mix) (2009 Digital Remaster)
27. Yesterday (Original Stereo Mix) (2009 Digital Remaster)
28. Dizzy Miss Lizzy (Original Stereo Mix) (2009 Digital Remaster)
Album 6 Rubber Soul
1. Drive My Car (Mono) (2009 Digital Remaster)
2. Norwegian Wood (This Bird Has Flown) (Mono) (2009 Digital Remaster)
3. You Won't See Me (Mono) (2009 Digital Remaster)
4. Nowhere Man (Mono) (2009 Digital Remaster)
5. Think For Yourself (Mono) (2009 Digital Remaster)
6. The Word (Mono) (2009 Digital Remaster)
7. Michelle (Mono) (2009 Digital Remaster)
8. What Goes On (Mono) (2009 Digital Remaster)
9. Girl (Mono) (2009 Digital Remaster)
10. I'm Looking Through You (Mono) (2009 Digital Remaster)
11. In My Life (Mono) (2009 Digital Remaster)
12. Wait (Mono) (2009 Digital Remaster)
13. If I Needed Someone (Mono) (2009 Digital Remaster)
14. Run For Your Life (Mono) (2009 Digital Remaster)
15. Drive My Car (Original Stereo Mix) (2009 Digital Remaster)
16. Norwegian Wood (This Bird Has Flown) (Original Stereo Mix) (2009 Digital Remaster)
17. You Won't See Me (Original Stereo Mix) (2009 Digital Remaster)
18. Nowhere Man (Original Stereo Mix) (2009 Digital Remaster)
19. Think For Yourself (Original Stereo Mix) (2009 Digital Remaster)
20. The Word (Original Stereo Mix) (2009 Digital Remaster)
21. Michelle (Original Stereo Mix) (2009 Digital Remaster)
22. What Goes On (Original Stereo Mix) (2009 Digital Remaster)
23. Girl (Original Stereo Mix) (2009 Digital Remaster)
24. I'm Looking Through You (Original Stereo Mix) (2009 Digital Remaster)
25. In My Life (Original Stereo Mix) (2009 Digital Remaster)
26. Wait (Original Stereo Mix) (2009 Digital Remaster)
27. If I Needed Someone (Original Stereo Mix) (2009 Digital Remaster)
28. Run For Your Life (Original Stereo Mix) (2009 Digital Remaster)
Album 7 - Revolver
1. Taxman (Mono) (2009 Digital Remaster)
2. Eleanor Rigby (Mono) (2009 Digital Remaster)
3. I'm Only Sleeping (Mono) (2009 Digital Remaster)
4. Love You To (Mono) (2009 Digital Remaster)
5. Here There And Everywhere (Mono) (2009 Digital Remaster)
6. Yellow Submarine (Mono) (2009 Digital Remaster)
7. She Said She Said (Mono) (2009 Digital Remaster)
8. Good Day Sunshine (Mono) (2009 Digital Remaster)
9. And Your Bird Can Sing (Mono) (2009 Digital Remaster)
10. For No One (Mono) (2009 Digital Remaster)
11. Doctor Robert (Mono) (2009 Digital Remaster)
12. I Want To Tell You (Mono) (2009 Digital Remaster)
13. Got To Get You Into My Life (Mono) (2009 Digital Remaster)
14. Tomorrow Never Knows (Mono) (2009 Digital Remaster)
Album 8 Sgt Peppers Lonely Hearts Club Band
1. Sgt Pepper's Lonely Hearts Club Band (Mono) (2009 Digital Remaster)
2. With A Little Help From My Friends (Mono) (2009 Digital Remaster)
3. Lucy In The Sky With Diamonds (Mono) (2009 Digital Remaster)
4. Getting Better (Mono) (2009 Digital Remaster)
5. Fixing A Hole (Mono) (2009 Digital Remaster)
6. She's Leaving Home (Mono) (2009 Digital Remaster)
7. Being For The Benefit Of Mr Kite! (Mono) (2009 Digital Remaster)
8. Within You Without You (Mono) (2009 Digital Remaster)
9. When I'm Sixty Four (Mono) (2009 Digital Remaster)
10. Lovely Rita (Mono) (2009 Digital Remaster)
11. Good Morning Good Morning (Mono) (2009 Digital Remaster)
12. Sgt Pepper's Lonely Hearts Club Band (Reprise) (Mono) (2009 Digital Remaster)
13. A Day In The Life (Mono) (2009 Digital Remaster)
Album 9 Magical Mystery Tour
1. Magical Mystery Tour (Mono) (2009 Digital Remaster)
2. The Fool On The Hill (Mono) (2009 Digital Remaster)
3. Flying (Mono) (2009 Digital Remaster)
4. Blue Jay Way (Mono) (2009 Digital Remaster)
5. Your Mother Should Know (Mono) (2009 Digital Remaster)
6. I Am The Walrus (Mono) (2009 Digital Remaster)
7. Hello, Goodbye (Mono) (2009 Digital Remaster)
8. Strawberry Fields Forever (Mono) (2009 Digital Remaster)
9. Penny Lane (Mono) (2009 Digital Remaster)
10. Baby, You're A Rich Man (Mono) (2009 Digital Remaster)
11. All You Need Is Love (Mono) (2009 Digital Remaster)
Album 10 The Beatles (White Album)
Disc 1
1. Back In The U.S.S.R. (Mono) (2009 Digital Remaster)
2. Dear Prudence (Mono) (2009 Digital Remaster)
3. Glass Onion (Mono) (2009 Digital Remaster)
4. Ob-La-Di, Ob-La-Da (Mono) (2009 Digital Remaster)
5. Wild Honey Pie (Mono) (2009 Digital Remaster)
6. The Continuing Story Of Bungalow Bill (Mono) (2009 Digital Remaster)
7. While My Guitar Gently Weeps (Mono) (2009 Digital Remaster)
8. Happiness Is A Warm Gun (Mono) (2009 Digital Remaster)
9. Martha My Dear (Mono) (2009 Digital Remaster)
10. I'm So Tired (Mono) (2009 Digital Remaster)
11. Blackbird (Mono) (2009 Digital Remaster)
12. Piggies (Mono) (2009 Digital Remaster)
13. Rocky Raccoon (Mono) (2009 Digital Remaster)
14. Don't Pass Me By (Mono) (2009 Digital Remaster)
15. Why Don't We Do It In The Road? (Mono) (2009 Digital Remaster)
16. I Will (Mono) (2009 Digital Remaster)
17. Julia (Mono) (2009 Digital Remaster)
Disc 2
1. Birthday (Mono) (2009 Digital Remaster)
2. Yer Blues (Mono) (2009 Digital Remaster)
3. Mother Nature's Son (Mono) (2009 Digital Remaster)
4. Everybody's Got Something To Hide Except Me And My Monkey (Mono) (2009 Digital Remaster)
5. Sexy Sadie (Mono) (2009 Digital Remaster)
6. Helter Skelter (Mono) (2009 Digital Remaster)
7. Long Long Long (Mono) (2009 Digital Remaster)
8. Revolution 1 (Mono) (2009 Digital Remaster)
9. Honey Pie (Mono) (2009 Digital Remaster)
10. Savoy Truffle (Mono) (2009 Digital Remaster)
11. Cry Baby Cry (Mono) (2009 Digital Remaster)
12. Revolution 9 (Mono) (2009 Digital Remaster)
13. Good Night (Mono) (2009 Digital Remaster)
Album 14 Past Masters
Disc 1
1. Love Me Do (Original Single Version) (Mono) (2009 Digital Remaster)
2. From Me To You (Mono) (2009 Digital Remaster)
3. Thank You Girl (Mono) (2009 Digital Remaster)
4. She Loves You (Mono) (2009 Digital Remaster)
5. I'll Get You (Mono) (2009 Digital Remaster)
6. I Want To Hold Your Hand (Mono) (2009 Digital Remaster)
7. This Boy (Mono) (2009 Digital Remaster)
8. Komm Gib Mir Deine Hand (Mono) (2009 Digital Remaster)
9. Sie Liebt Dich (Mono) (2009 Digital Remaster)
10. Long Tall Sally (Mono) (2009 Digital Remaster)
11. I Call Your Name (Mono) (2009 Digital Remaster)
12. Slow Down (Mono) (2009 Digital Remaster)
13. Matchbox (Mono) (2009 Digital Remaster)
14. I Feel Fine (Mono) (2009 Digital Remaster)
15. She's A Woman (Mono) (2009 Digital Remaster)
16. Bad Boy (Mono) (2009 Digital Remaster)
17. Yes It Is (Mono) (2009 Digital Remaster)
18. I'm Down (Mono) (2009 Digital Remaster)
Disc 2
1. Day Tripper (Mono) (2009 Digital Remaster)
2. We Can Work It Out (Mono) (2009 Digital Remaster)
3. Paperback Writer (Mono) (2009 Digital Remaster)
4. Rain (Mono) (2009 Digital Remaster)
5. Lady Madonna (Mono) (2009 Digital Remaster)
6. The Inner Light (Mono) (2009 Digital Remaster)
7. Hey Jude (Mono) (2009 Digital Remaster)
8. Revolution (Mono) (2009 Digital Remaster)
9. Only A Northern Song (Mono) (2009 Digital Remaster)
10. All Together Now (Mono) (2009 Digital Remaster)
11. Hey Bulldog (Mono) (2009 Digital Remaster)
12. It's All Too Much (Mono) (2009 Digital Remaster)
13. Get Back (Mono) (2009 Digital Remaster)
14. Don't Let Me Down (Mono) (2009 Digital Remaster)
15. Across The Universe (Mono) (2009 Digital Remaster)
16. You Know My Name (Look Up The Number) (Mono) (2009 Digital Remaster)
Abbey Road kjøpte inn noen stykker Dynamic Precision A1 til bruk sammens med 802, (senere oppgradert til 802D). Det er sikkert en drøss av kontrollrom/mikserom hos Abbey Road. Dette oppsettet brukes til produksjonen av klassisk musikk. Var en artikkel om dette i Dagens Næringsliv førjul 2004, var det vel. Utprøvningsperioden var lang og nøysom, før lydteknikerne fikk viljen sin. Onde tunger sier at rekvisisjonen satt langt inne, ledelsen var nok ikke vant med å måtte cashe ut full pris for utstyret. Men det er altså ubekreftet sladder. Det som imidlertid er korrekt er at DPA1 erstattet de gamle EC Nemo blokkene som gikk i retur til Kjeller.vredensgnag skrev:
Hehe - Nederlenderne er og blir noen ordentlige luringer daKKaare G. Opsahl
Gjest
Nope! itte no frokostSPECIAL: Beatles engineer Allan Rouse gives a preview of the Beatles remastered CDs
(Allan Rouse joined EMI in 1971 as an assistant engineer in the demo studio at the Manchester Square head office, frequently working with Norman (Hurricane) Smith, The Beatles first recording engineer. In 1991, he copied all of Beatles' master tapes (mono, stereo, 4-track and 8-track) to digital tape as a safety backup. He spent four years after that working with Sir George Martin as assistant and project coordinator on the TV documentary "The Making of Sgt. Pepper" and the CDs "Live at the BBC" and "The Beatles Anthology.' It was Rouse, along with Abbey Road senior engineer Guy Massey and and assistant Guy Massey, who produced the 5.1 surround and stereo mixes for the reissue of "Yellow Submarine" in 1999. He later helped initiate what led to the remastering of several John Lennon albums and the new sound mixes for the film "Gimme Some Truth" and the "Lennon Legend" DVD. Rouse has worked exclusively on Beatles projects in recent years, including "The First US Visit" and the "Help" DVDs, and the albums "Let It Be Naked" and "Love" along with George Harrisons "The Concert for Bangladesh" DVD and album.)
Q: When was the re-masters project first discussed? When did the work actually begin? When did it (or will it) end?
Allan Rouse: As far as Abbey Roads involvement, the project began at the beginning of 2005 and ended with Apple Corps Ltd and EMIs approval at the beginning of this year.
Q: Where was the work done?
Allan Rouse: All of the work was done within Abbey Road Studios.
Q: From the comments from those who have been to the listening sessions so far, it appears that calling this "Yellow Submarine Songtrack 2009" is inaccurate. What can fans expect from the new CDs?
Allan Rouse: The "Yellow Submarine Song Songtrack" was a remix which required going back to the original multi-track tapes and recreating a new stereo (and 5.1 surround for the film soundtrack). In the same way as the Anthology and Help! DVDs were created, along with Let It Be Naked and LOVE. The re-masters are made from the original Sixties mono and stereo master tapes, and because of this, do not allow for the changes that can be made when mixing. Therefore, the improvements that occur with the re-masters are: vastly improved digital technology (since their first release on CD in the eighties); in addition, new technology has allowed us to remove or improve technical faults with the recordings, for example bad edits, tape drop outs, sibilance etc. Noises that were part of The Beatles performances such as breaths, lip noises and squeaky bass drum pedal were left alone. Finally, EQ has been used where appropriate to enhance the sound.
Q: What were the basic instructions given at the beginning of the project?
Allan Rouse: There were no instructions given at the beginning of the project. Once the team had decided how we were going to approach the project, EMI and Apple Corps Ltd. were consulted for their approval.
Q: What has been the toughest technological challenge facing the remastering of the Beatles recordings?
Allan Rouse: Recognising that it impossible to achieve most of the changes which are possible when re-mixing and not to want to try, regardless of the technology that is available today.
Q: How were the new recordings evaluated by Paul, Ringo, Yoko and Olivia?
Allan Rouse: Once the team was satisfied, CDs were provided to Apple Corps Ltd. for their approval.
Q: Which are the most challenging: the early recordings because of their age or the later ones because of their complexity?
Allan Rouse: No album or track was more challenging than another, but the treatment to them changed accordingly, along with the changes in The Beatles music and the way in which they were recorded, all of which presented different issues. This is the reason that the work was done chronologically, allowing the team to progress with The Beatles sound.
Q: Which recordings -- the mono or stereo recordings -- lend themselves to better remastering?
Allan Rouse: By virtue of the fact that a mono mix has all the elements layered on top of each other it makes it very difficult to make EQ changes without interfering with things you may not wish to. But because of this it also disguises some of the technical problems that were more evident in the stereos, so less work had to be done in this regard. The opposite is true of the stereos, in that because of the separation it was possible to make small EQ improvements where vocals, for example, appear on one side without seriously interfering with the instrumentation. This greater space between instruments and vocals, though, permitted more of the technical issues to be audible; subsequently more time was spent dealing with those than in the monos.
Q: Have the original multitrack masters been transferred to computer to clean up the tape hiss?
Allan Rouse: No. Removing tape hiss from the mono and stereo re-masters was rarely attempted and when it was, it was used subtly and only to reduce the level of the noise, not to remove it. Less than 1% of the catalogue was treated.
Q: Have the pan problems from the original stereo mixes been fixed?
Allan Rouse: This can only be achieved when mixing from the multi-tracks.
Q: How are the new mono mixes being created?
Allan Rouse: New mono mixes have not been created.
Q: How does what's being done for this project differ from how the songs are being handled for "LOVE" and "The Beatles: Rock Band"?
Allan Rouse: Both LOVE and The Beatles: Rock Band were created by using the 2 track, 4 track and 8 track master tapes. In the case of Rock Band, to recreate the original stereo mixes but enabling the track separation that such a game demands. LOVE was not only a re-mix to both surround and stereo, it was also a creation that combined instrumentation and vocals from one title and added them to another, providing unique material. The re-masters are the original Sixties mono and stereo mixes created by George Martin, Norman Smith, Geoff Emerick, Ken Scott, Phil McDonald, Glyn Johns and The Beatles.
Q: Is there a general assumption that can be applied to the remastered CDs (e.g. more bass, less noise) or did each track have to be dealt with individually?
Allan Rouse: Each track was dealt with individually. Whilst bass may be one of the differences, so too are other frequencies, which were used to enhance and in some cases reduce. A small proportion of the tracks were not EQd at all as the improved transfers to digital had provided a sound that the engineers felt could not be improved upon. Many more had very little EQ applied and some a bit more, but at all times with the utmost consideration for each song.Takk for interessant lesestoff!
Jeg har jo "alt" med The Beatles fra før + masse blader og bøker. MEN, tror vel at jeg nøyer meg med Abbey Road og The White Album i remastered versjon. I hvertfall til å begynne med. Det er de 2 albumene jeg fremdeles henter frem regelmessig, og som har såpass bra lyd at de gjør seg på et highend anlegg den dag i dag. Eller hur?Vvredensgnag
Gjest
Har du "LOVE," pedal?
Den liker jeg. Der gikk Martin tilbake til det opprinnelige opptaksmaterialet, slik Rouse beskriver det, og gjennomførte en remiks, med McCartneys og Starrs veiledning. Bl.a. hentet Martin og hans sønn frem sekvenser fra andre tagninger, og bearbeidet spesielt 8-spors opptakene.
McCartney and Starr, the surviving members of The Beatles, responded very positively to the album. McCartney noted that "This album puts The Beatles back together again, because suddenly there's John and George with me and Ringo". Starr commended George and Giles Martin for the album and said that the album is "really powerful for me and I even heard things I'd forgotten we'd recorded."[6][7]
- Ble medlem
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På en av fjorårets NPR:All Songs Considered podkast var Giles Martin gjest hos Bob Boilen og ble intervjuet ang Love, teknikk og fremgangsmåten de brukte i prosessen med albumet. Meget interessant.Sukk.....slik jeg har forstått det kommer de nye utgivelsene ut med "kopi" av vinylcoveret, med andre ord disse helv... pappcoverne. Coverne i seg selv går lett i stykker, men det verste er at cd-ene blir fulle av riper så fort man tar de ut og inn av coveret . I alle falll hvis disse er av den stive papvarianten som (desverre) begynner å bli ganske vanlig nå til dags.
Jeg har den gamle "brødboksen" med Beatles samlede verker. DET er saker det.
Ønsker mer enn gjerne Beatles med bedre lyd velkommen, men synes det kunne vært kvalitet over innpakningen også gitt
Hilsen til alle plateselskap:Jeg HATER pappcover!!!The Beatles' final album, Abbey Road, was the only one to be recorded using a transistorised mixing console rather than the earlier valve consoles. Engineer Geoff Emerick has said that the transistorised console played a large part in shaping the album's overall sound, lacking the aggressive edge of the valve consoles.
-Pussig. Skulle jo tro at rør vs. transistor låt omvendt av dette...
Finnes sikkert en trillion websider om The Beatles, men her er en kortfattet som forteller litt om kvaliteten på råmaterialet (mastertapene) som nå altså er remastered. http://www.allaboutjazz.com/php/news.php?id=21640Although the only Beatles album recorded using the TG desk was Abbey Road many significant records of the early seventies through to 1983 were recorded on them, notably Pink Floyds Dark Side of the Moon and some of the early Paul McCartney Wings albums.
Og her litt mer om sistnevnte konsoll. Den var vist ganske forseggjort. Det er den som er benyttet i de siste re-mixene, etter sigende: http://www.mercenary.com/emitgconsole.htmlVedlegg
For coverets del må en jo ha LP'enehaber skrev:Sukk.....slik jeg har forstått det kommer de nye utgivelsene ut med "kopi" av vinylcoveret, med andre ord disse helv... pappcoverne. Coverne i seg selv går lett i stykker, men det verste er at cd-ene blir fulle av riper så fort man tar de ut og inn av coveret . I alle falll hvis disse er av den stive papvarianten som (desverre) begynner å bli ganske vanlig nå til dags.
Jeg har den gamle "brødboksen" med Beatles samlede verker. DET er saker det.
Ønsker mer enn gjerne Beatles med bedre lyd velkommen, men synes det kunne vært kvalitet over innpakningen også gitt
Hilsen til alle plateselskap:Jeg HATER pappcover!!!
.
Men for å drømme litt coverfritt. Følgende skulle eg gitt mye for å se (kanskje det kommer til neste år?):Vedlegg
Er enig i at man for coverets skyld bør ha LP. Men, man får pakke vinyl i "vinylcover" og cd i "cdcover" spør du meg . Alternativt kan man jo til nød gjøre slik det er gjort med Gasolin`sin "Black box", nemlig lage innercover til cd-ene også, akkurat som på LP ene. Bare det å få cd-en ut av coveret på f.eks de siste Springsteen utgivelsene er jo et mareritt
Stereo er den «normale» versjonen med alle album, dokumentarmateriale etc. og helt sikkert den som kommer til å være volumutgaven.hel skrev:
haber: Kun mono-utgivelsen som får «vinylcovre», ser det ut til. Lite å frykte, altså. Basert på bildet på Amazon ser det også ut til at det vil følge med innercovre til denne utgaven.
Wright: TakkWright skrev:
Pappcover gir en mer "organisk" følelse, i motsetning til plast. Men ryktene sier at kvalitetsfølelsen skal være superb med glossy overflate. Og hvis man titter på både coveromslag og selve CD-plata, så ser man at EMI har gått bananas i å få hver minste lille detalj riktig.haber skrev:Sukk.....slik jeg har forstått det kommer de nye utgivelsene ut med "kopi" av vinylcoveret, med andre ord disse helv... pappcoverne. Coverne i seg selv går lett i stykker, men det verste er at cd-ene blir fulle av riper så fort man tar de ut og inn av coveret . I alle falll hvis disse er av den stive papvarianten som (desverre) begynner å bli ganske vanlig nå til dags.
Jeg har den gamle "brødboksen" med Beatles samlede verker. DET er saker det.
Ønsker mer enn gjerne Beatles med bedre lyd velkommen, men synes det kunne vært kvalitet over innpakningen også gitt
Hilsen til alle plateselskap:Jeg HATER pappcover!!!
Riktignok syns nok noen at den lille Quicktime-logoen på plata er et lite forstyrrende elemenet i all nostalgi.
Uansett, alt er gjort med hensikt for at de nye re-masters skal diffrensieres mest mulig fra 80-talls utgivelsene. -
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