After you eat at Taco Bell, there's always gonna be some "drama" involving shit.
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It’s clear that the team of engineers responsible for the four-year project ensured that the world’s most important and famous pop catalog finally received the care it’s always deserved no matter what mix is heard.
Such are the near-miraculous improvements in the key areas of information retrieval, hidden details, palpable physicality, expanded midrange, transient presence, and frequency response.
The changes wrought by the remasters are dramatic.
Please Please Me is distinguished by a previously vacant fullness, richness, and enormity. There’s discernible air and echo around the swooping vocals on “Misery,” and resolute imaging on “I Saw Her Standing There”—quite a thrill. And the bottom end—quite possibly the single-biggest enhancement on all of the remasters—registers with a forceful thump rather than a dull, empty thud. No longer an undefined aural morass, “Twist and Shout” explodes with a clean yet musical clarity, the singing more distinctive and immediate, the instruments possessing true timbres and resonant clatter. And who ever notices the expressive “Yeah!” at the end of the take?
Similarly, the mono With the Beatles unfolds with ear-bending vibrancy and liveliness. The rolling vocal harmonizing on “All My Loving” astounds. Across-the-board upgrades in airiness, dimensionality, depth, size, and Paul McCartney’s vastly underrated bass lines are detectable on every song.
Vocal precision, smoothness, and extension become even more pronounced on Help! and Rubber Soul. Ditto for the realistic bottom end, long absent on most Beatles recordings. McCartney’s bass and Ringo Starr’s percussion ride side-by-side, and smart albeit illuminating shades and accents
For kicks, comparing the 1987 digital issue of Sgt. Pepper’s to the new remasters lends perspective to just how awful the former are, and how amazing Capitol’s 2009 entries sound. Whereas the previous edition of the landmark record comes across as tinny, lifeless, shrill, flat, and canned—to the extent where listeners are forced to mentally fill in parts they think (and know) should be present—both versions of the revised Sgt. Pepper’s present the album as an entirely new adventure filled with immense detail, holographic soundstages, authentic studio dimensions, and shocking instrumental and textural surfaces that heretofore have been missing in action. Tracks such as “For the Benefit of Mr. Kite” seemingly float on an ethereal bed of studio effects, with tremendous top-to-bottom frequency extension revealing trippy surprises such as bells, wood blocks, congas, and various other percussive trinkets that possess a reach-out-and-touch presence.
No painstaking decisions involve Abbey Road or Let It Be, as only stereo versions exist. Each album unfolds like never before—particularly Abbey Road. Thicker tracks such as “She’s So Heavy” come on as indestructible walls of sound replete with phenomenal low-end weight, superb definition, vivid dynamics, and unlimited ceilings and floors. Starr’s drumming on “The End” is absorbing and titanic; it sounds so good, it’s almost difficult to believe this is the Beatles, which, unless one had unlimited funds for collectable LPs, have never sounded great. Depending on one’s perspective, such a conclusion is the ultimate sign that the folks at Capitol and Abbey Road Studios not only succeeded but surpassed most expectations. For if the Beatles remasters signify the last great hurrah of the compact disc, at least the format is going out in style.
So why would you want to hear them in mono? That's like saying that my grandparents originally made my mom's beef stew from gross well water, instead of clean, filtered tap water. So let's make it out of gross well water!
Why would you want to watch old movies in 4:3 aspect ratio when we have widescreen HDTVs now?!?!
well, damned if i'm paying for them all over again. Set utorrent to 'download', Mr Sulu.
Quote from: Cormacaroni on September 03, 2009, 12:59:13 AMwell, damned if i'm paying for them all over again. Set utorrent to 'download', Mr Sulu.I think this will be the least downloaded thing ever.
How much louder are they?
We hope that we have made them sound a bit more in keeping with the time, but one of the things we did agree that we would be very cautious about is limiting, which is where you make them as loud as you can. That's the common process of most recordings today - make 'em as loud as possible so that they're as loud as the last band. We agreed that we would not do that, because these are 40-year-old recordings and they don't deserve to have the dynamics of their songsdestroyed. At the same time, we felt, for the stereo master, that a small amount of limiting that didn't destroy the dynamics would be acceptable, so they are a bit louder.
Quote from: Akala on September 03, 2009, 01:41:51 AMQuote from: Cormacaroni on September 03, 2009, 12:59:13 AMwell, damned if i'm paying for them all over again. Set utorrent to 'download', Mr Sulu.I think this will be the least downloaded thing ever.after 'Akala's Greatest Hits', presumably
the whole situation sucks...the mono releases shouldn't be so limited. How much are those going for now anyway?
Quote from: DJ_Tet on September 03, 2009, 05:44:05 PMthe whole situation sucks...the mono releases shouldn't be so limited. How much are those going for now anyway?EMI stated that they will be issuing more of the Mono box set. Probably after the 9th, though. At the Beatles webstore you can still pre-order for delivery in October. They'll gladly lift $269 + shipping from your pocket. Bunch of other sites are still taking pre-orders. Amazon's confirmed they will be getting more Mono at some point. Free shipping and unless they gouge, they'll probably sell it at ~$230, the previous pre-order price.The only unknown is whether EMI/Apple will continue to claim that the Mono is limited. The whole 10,000 thing turned out to be bull; but no one will state if there is some silent limit in the future.
here's my review: faaaaarrrrrt
That's better then. I can't afford it now but that doesn't mean it isn't something I'd like to own in the future. $230+ isn't TOO bad I suppose.
Man, I want this collection, but I probably have to go for Mono. Whenever I listen to anything with headphones, the vocals in one, instruments in the other mix is really distracting.
One of my best recent memories was splitting my headphones to listen to Jimi Hendrix's 1983 A Merman I Would Choose to Be with my ex-gf after discretely making love in a Prague hostel.
The stereo mix sounds distinguished mentally-challenged. I'll stick with my current mp3s.
What leaps out on virtually every album is a sense of in-the-studio presence that hasn’t been heard before. The rockers rock way harder, largely because the remastering process has brought out the McCartney-Starr rhythm section in a big way, making the bass and drum foundation sound beefier than we’ve ever known.The gentler songs sparkle, with space around the guitar picking of Lennon and Harrison that make it seem as if they’re sitting in the room with you. Harmonies and background vocals come into their own with fresh clarity. Guitar chords slash through the speakers with aggression, pianos boogie with authority and the psychedelic numbers seem more colourful than ever.While each release offers its share of revelations, the real stunners are found in the later, more ambitious undertakings, like The Beatles (better known as The White Album) and Abbey Road.
Here’s a random selection of must-hear tracks, all from the stereo albums:1. Baby’s In Black (from Beatles For Sale): Listen for: Ringo Starr’s pounding bass drum on the last verse (“She thinks of him...”)2. Tell Me What You See (from Help!): Listen for: new-found punch and presence, notably in the electric piano-and-drum break.3. Norwegian Wood (This Bird Has Flown) (from Rubber Soul): Listen for: bright, wide-open space, which makes you feel like you’re in Abbey Road studios.4. Taxman (from Revolver): Listen for: Paul McCartney’s inspired bass playing, which has never come through so clearly on George Harrison’s wicked rocker.5. She’s Leaving Home (from Sgt. Pepper’s Lonely Hearts Club Band): Listen for: the pure, sweet tones of the string section, with a cello that sounds positively fat.6. Strawberry Fields Forever (from Magical Mystery Tour): Listen for: Starr’s heavy drumming kicking in on the second verse of John Lennon’s psychedelic masterpiece. It’s actually startling.7. Dear Prudence (from The Beatles): Listen for: the delicate, pin-drop picking as Lennon spins out the distinctive guitar phrase anchoring the song.8. Julia (from The Beatles): Listen for: Lennon’s understated vocal, as if he were singing in your ear.9. I’ve Got a Feeling (from Let It Be): Listen for: the liftoff that happens when Harrison comes in like a freight train and McCartney screams.10. Because (from Abbey Road): Listen for: the angelic harmonies filling every space in the room. Truth be told, a listen to all of what was once Side 2 of the album should convince skeptics about the remasters.
OMG @ the harmonies in "Octopus' garden" Trent, SiRE?
[youtube=560,345]JAqRaKgtrzA[/youtube]
Fiona Apple's version of Across The Universe is way better than the original. That might be the only one I can think of though
Come Together isn't a good song no matter who does it
DL'ed the stereo box in FLAC. Hey Bulldog's bassline sounds amazing.
