Remastered Beatles box sets: First look

beatles_stereo_boxset-300Here is a sneak peek, courtesy of Steve Marinucci, at the Beatles’ box sets to be released Sept. 9. As I’ve previously written, these will be the first official remastering of most of the Beatles’ work on CD, and the first ever CD release of many of the albums in mono – as the Beatles themselves intended most of their music to be heard.

UPDATE: For much more on the remasters, see my post here, which includes interviews with Abbey Road engineer Allan Rouse, the project manager for the remastering process.


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2 Responses to “Remastered Beatles box sets: First look”

  1. Beatles remasters: The latest from Abbey Road « MusicForMedia: Creating music for a multimedia world Says:

    […] in charge of the first-ever remastering of the Beatles’ catalogue says the resulting recordings sound ”the closest they’ve ever sounded to the original […]

  2. Jim Morris Says:

    I don’t know squat about engineering but I do know music. I know that in guitar based rock and roll there is no substitute for for point to point wired tube circuitry in the guitar amplification process, tube based microphones, boards and 30 ips one inch tape reel to reel recorders. This is the foundation that the original beatle recordings were produced.

    Now I am an American so in 1964 I first heard them on Capitol in stereo. I never heard the mono versions until 1987. I played Meet the Beatles, the Second Album and the United Artists’ Hard Days Night, Something New as well as all of the singles on my parents ($800, a whole lot of money at the time)1960 RCA Victrola consol stereo equipped with a 75 watt all tube amplifier and preamplifier through a pair of two way four driver alnico magnet speakers. The sound was fantastic! Organic, musical and alive!

    Fast forward to 1975. My brand new Scott Audio Reciever and BIC Venturi Speakers plays the same records and to my disappointment, I had to go back to the old RCA to get it right. A similar experience goes for the 1987 CD catalog; the magic just was not there.

    An engineer at MacIntosh Audio explained to me that the differences between their 75 watt all tube amp and their 250 watt transistor circuitry amplifier cannot be measured in quantifiable mathimatical terms but rather in qualitative abstract descriptions. In short the tube amp is more “musical”; its dynamics are significantly different.

    This I know to be a fact because there is no amp modeling process available that can reproduce the dynamics of my Fender Strat and 1959 Fender Tweed Bassman or Vox AC 30. I have tried and it cannot be done. Therefore why can’t the same be true of recorded music. That is probably why Paul and George rejected digital formats in their studios.

    In the end, I say reproduce both American and British versions from the perspective of placing one back in 1964 when they were heard for the first time.

    Giles Martin also made an insightful comment on the liner notes of the LOVE remix he worked on saying that when his father George played the originals for him in the sudio, it was as if he had heard them for the first time. Perhaps that too might be a sound perspective to work from as well.

    In any event, I am looking forward to auditioning both versions when they come out.

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