Sterling Sound remastering US Beatles albums
lukpac wrote:On my cheap speakers at home, C sounds good, and A and B sound a bit muddy, but under headphones and in the car, C just sounds way too EQ'd.
I listened to these through my hifi link and my headphones.
Of the three, I liked the tonality of A best. B has a dull, "closed-in" sound. C is better than B, but the sibilants (among other things) sound a little too hot.
I don't hear any more reverb on C than what's on the LP. And I certainly didn't remove any when I EQ'd it.
IMO, judicious EQ can bring out spatial cues that widen the soundstage, and I'm inclined to say that this is what I'm hearing when I listen to A (as opposed to a difference in reverb). There's no question that A (and C) sounds wider and more open than B. In fact, if forced to choose I'd say that A has a slightly better soundstage than C as well.
Hey Luke, if you ever get around to comparing my "Gimme Shelter" remaster to the SACD original, you'll hear exactly what I'm talking about. The "opening up" of the sound on my remaster is due totally to EQ.
Dob
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"Democracy is a pathetic belief in the collective wisdom of individual ignorance" -- HL Mencken
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"Democracy is a pathetic belief in the collective wisdom of individual ignorance" -- HL Mencken
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Rspaight
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I didn't notice a whole lot more reverb on C as opposed to A. I think the treble boost made it sound that way by bringing the vocal echoes out more.
Listening for soundstage on my crappy work speakers is a waste of time. It's more like a soundbox.
Ryan
Listening for soundstage on my crappy work speakers is a waste of time. It's more like a soundbox.
Ryan
RQOTW: "I'll make sure that our future is defined not by the letters ACLU, but by the letters USA." -- Mitt Romney
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lukpac
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RDK wrote:Man, I'll have to listen again at home (for whatever reason, I'm not able to hear the files at work). But on my computer speakers A sounded nothing like C, and C sounded covered in reverb. Weird...
Just shows what a bit of EQ can do...
"I know because it is impossible for a tape to hold the compression levels of these treble boosted MFSL's like Something/Anything. The metal particulate on the tape would shatter and all you'd hear is distortion if even that." - VD
Great job, Luke!
That was the first time I heard a Capitol version of a Beatles song. I think all three versions suck compared to the mono version. But that was not really the point.
(Luke's version A sounds the best, but very close to version B.)
That was the first time I heard a Capitol version of a Beatles song. I think all three versions suck compared to the mono version. But that was not really the point.
(Luke's version A sounds the best, but very close to version B.)
Last edited by Andreas on Tue Nov 23, 2004 5:24 am, edited 1 time in total.
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lukpac
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Damn, forgot yesterday.
Off the top of my head, I noticed the BFS tracks needed a bit different EQ compared to the AHDN tracks. That is, at least when compared to the vinyl I was using as a reference ('70s Parlophone of AHDN - I compared I'll Cry Instead).
It's amazing how wacky tonality can be. Depending on what mood I'm in and how I'm listening, that EQ can sound just right, still too bright, or too dull. Having a frame of reference is a big deal too. Good example - I had loved the sound of Can't Buy Me Love off of German vinyl. But after re-eqing the Something New tracks and putting them next to CBML, it sounds kind of bass shy in comparison.
Off the top of my head, I noticed the BFS tracks needed a bit different EQ compared to the AHDN tracks. That is, at least when compared to the vinyl I was using as a reference ('70s Parlophone of AHDN - I compared I'll Cry Instead).
It's amazing how wacky tonality can be. Depending on what mood I'm in and how I'm listening, that EQ can sound just right, still too bright, or too dull. Having a frame of reference is a big deal too. Good example - I had loved the sound of Can't Buy Me Love off of German vinyl. But after re-eqing the Something New tracks and putting them next to CBML, it sounds kind of bass shy in comparison.
"I know because it is impossible for a tape to hold the compression levels of these treble boosted MFSL's like Something/Anything. The metal particulate on the tape would shatter and all you'd hear is distortion if even that." - VD
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lukpac
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I've done all the (true stereo) AHDN tracks so far. Haven't touched MTB yet, and have no interest in doing Second Album.
"I know because it is impossible for a tape to hold the compression levels of these treble boosted MFSL's like Something/Anything. The metal particulate on the tape would shatter and all you'd hear is distortion if even that." - VD
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Rspaight
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Perusing SH.tv, I see a thread mentioning that the new Michael Jackson box has only shifted 14,000 units. The article quoted mentions that the Beatles Capitol box, released on the same day, had sold 56,000.
Wow. Only 56,000 in nearly a month? That's not much. LIBN sold 280,000 in its first *week*. 1, of course, blasted out almost 600,000 its first week. Even if you take into account the four-disc aspect, LIBN *still* outsold this thing's one-month sales in one week.
I guess the boomer market ain't all it's cracked up to be. Wonder if we'll get a volume 2?
Ryan
Wow. Only 56,000 in nearly a month? That's not much. LIBN sold 280,000 in its first *week*. 1, of course, blasted out almost 600,000 its first week. Even if you take into account the four-disc aspect, LIBN *still* outsold this thing's one-month sales in one week.
I guess the boomer market ain't all it's cracked up to be. Wonder if we'll get a volume 2?
Ryan
RQOTW: "I'll make sure that our future is defined not by the letters ACLU, but by the letters USA." -- Mitt Romney
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lukpac
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http://www.stevehoffman.tv/forums/showp ... stcount=60
Reading the start of that thread makes my head hurt.
BTW, I just saw this:
Do we really know this? It's known that different mixes were sent to the US, but how do we know they were much/any difference from their UK counterparts? Did the mixes themselves show up on boot or something?
It is interesting that those are the only 2 "added echo" tracks on that LP, though.
Michael wrote:...actually, I believe these are geared towards the first generation fan, after all, we were forced to hear only the AMERICAN LP's as children, imports were not available as parallel releases in 1964...so, our beloved memories, warts and all will drive the sales through the roof, I'm predicting Top 10, possibly NUMBER ONE!...
Reading the start of that thread makes my head hurt.
BTW, I just saw this:
Xenu Goodwin wrote:Remember too that "I Feel Fine" and "She's a Woman" are EMI's creations, for the most part. They were reverbed mixes specifically delivered for the US audience. Dexter likely had little to do with them.
Do we really know this? It's known that different mixes were sent to the US, but how do we know they were much/any difference from their UK counterparts? Did the mixes themselves show up on boot or something?
It is interesting that those are the only 2 "added echo" tracks on that LP, though.
"I know because it is impossible for a tape to hold the compression levels of these treble boosted MFSL's like Something/Anything. The metal particulate on the tape would shatter and all you'd hear is distortion if even that." - VD
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Gee Oh Are Tea
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Luke, I've heard some of your EQ stuff before but I've got to ask a stupid question: what software are you using to EQ (Cool Edit / Adobe Audition?) and what settings (because the A sample sounds a lot better than the actual Capitol mix - even though I suppose the intent of this release is to provide it to American fans in all its original glory). I'd certainly like to hear some samples of the (real) stereo AHDN tracks (I'm Happy Just To Dance With You has a decent soundstage on the UK stereo versions I have).
Cliff
Cliff