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LP (12" album, 33 rpm), Remastered
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The Beatles' acclaimed original studio album remasters, released on CD in 2009, make their long-awaited stereo vinyl debut
Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper's Lonely Heart Club Band's cut-outs, and special inner bags for some of the titles
The titles include The Beatles' 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group's core catalogue, and Past Masters, Volumes One & Two, first released individually in 1988, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles' first four albums make their North American stereo vinyl debuts
There has always been demand for The Beatles' albums on vinyl. Indeed, 2011's best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles' acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI's Abbey Road Studios should create new versions of The Beatles' vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple
The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl
A 'blind' listening test was arranged to choose between a 'lacquer' or 'copper' cut. Using both methods, A Hard Day's Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having 'blank' discs of a consistent quality when cutting lacquers
The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone 'limiting' - a procedure to increase the sound level, which is deemed necessary for most current pop CDs
Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any 'sibilant episodes' - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of 'inner-groove distortion' was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a 'mushy' sound particularly noticeable on vocals. Using what Magee has described as 'surgical EQ,' problem frequencies were identified and reduced in level to compensate for this
The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli
An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the 'lock-groove' at the end of side two of Sgt. Pepper's Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.
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Let me tell you, this MONO LP sounds incredibly better! Eleanor Rigby was like a completely different, and way better, song. McCartney's voice sounded so clear and crisp and the chorus was amazing. I'm Only Sleeping, Here There and Everywhere, For No One, And Your Bird Can Sing sound DEFINITELY better in mono. Seriously, you can sit down, pay little to no attention to the music, and still hear the better and more shaking difference between Mono and Stereo. Every other song does sound better in mono but the difference is less noted when compared to Stereo.
If you're a Beatles fan and never listened to them in Mono before, buy this. This is one record, alongside Sgt. Pepper's, that is meant to be heard in Mono. If you're a fan of mono I'm sure you've already ordered this.
The packaging is nearly identical to the original, right down to the yellow and black Parlophone label on the record itself (only difference is the minor addition of a Sony Music/ATV credit). There is a booklet which explains the intent of keeping the packaging as close to the original release as possible. The vinyl itself is beautifully thick and heavy (as was the original vinyl), well protected in a white antistatic sleeve. I own a pressing from 1966 and compared them side by side and there is no contest: this new release blows the old one away in terms of sound quality, even accounting for the wear and scratches accumulated from nearly 50 years of (careful) play.
I own nearly all of the original UK pressings of the Beatles albums in mono and they're in very good shape for their age, so while I was following the news about the various remasterings, and I was happy Apple was going to make the Beatles' music available again in the right way for newer listeners, I was skeptical about my own need for re-purchasing anything. But after taking a chance and trying this new release of Revolver out, I'm on board, and I'll probably buy the box set.
Take it from me: if you're on the fence about getting these new remastered mono vinyls... don't be. Short of a complete stereo remix of the original multitrack tapes, I think this is the best the Beatles' music will ever sound.
The LP is a nice, thick slab of the black stuff, and mastering and pressing is top notch. Certainly more involving than any version I had previously owned.
No need for me to comment on the music, except that I (like so many others) consider this to be one of the greatest albums of all time. If you don't already know these songs, you have plenty to look forward to. It all just flows so brilliantly.
Buy with confidence.
How colorful the sleeve got with the next album they released..