The Beatles - Sgt. Pepper's 50th Anniversary (Content, Sound Quality & Discussion Thread Only!)

I hope Giles refrains from adding unnecessary compression when remixing the White Album tracks. The music sells itself. Additional gimmickry shouldn't be used to pander to a younger audience.

 

The teck here talk as interesting as it is sails above my head. I gonna grab another beer and groove to that fabulous Pepper Blu Ray. Later...

 

Hear ya I'll crank up my newly purchased spare cleaned thoroughly 2014 mono White Album vinyl tonight. Wondering what Giles will do with the white album as preserving its purity for its 2018 mix release. Stereo and mono should be interesting.

You think these pepper threads were hostile on Giles wait and see if he adds to much to the 2018 White album remix. The white album threads on Hoffman will be toxic. IMHO

 

That's the frequency range, but 96k also means more than double sample points than the CD (which was my point of comparison, I haven't listened to the DVD).
Whatever the reason, I find the stereo remix more pleasing on the Blu-ray.

 

I'm annoyed by the schizophrenic mixing/mastering. It's like Okell mixed some and Giles mixed some.

One track sounds fine tonally and the next is insanely bloated and harsh.

One track has good separation with elements solidly placed in the sound-stage and the next track is a duophonic fakey-stereo mess.

Apple quality control strikes again.

 

This is weird, I am not hearing any of these problems you guys are mentioning.

 

What was the roll-off frequency of the analog tapes they used for recording Pepper? What are the magmetic particles or magnetic zones per second on that analog tape?

And, by the way, if we take the mono mix as what the Beatles really intended back then: What is the roll-off frequency of the records and record players of these days?

Best regards

 

Yes, you are right.
They used some "fake-stereo" elements to create a "big fuzzy mono" effect, to smear out the sound centered in the center, to the right and the left. Like what duo-phonic used to do.

Regarding quality control... I am afraid Apple and Calderstone consider the tapes of these albums as raw material simply, from which they can create "product" to sell.
I guess we'd get better re-issues from dedicated re-issue lables like Bear Family or the like, run by people who love the music in the first place.

By the way, by what year do the original recordings enter the public domain?

Best regards

 

I am begining to think the release in the US is in some way different to the UK because what i am hearing is as good as the original master tapes sounded in the studio at Abbey Road if not better.

 

What do you mean by "master tapes"? The original 4 track tapes, right?
I haven't heard them but my understanding is that the outtakes are very close representation of the 4 track tapes. But the remix sounds very different therefore is processed. To you it sounds better than the "unprocessed" tapes, others would prefer remix with less processing (compression, fake stereo effects etc...). It's just matter of preference.

Ondra

 

Thing is i am not hearing fake stereo effects or compression artefacts that you guys are.

 

Sgt Pepper Reprise, for instance, was demixed in places to get instrument isolation.

 

Good example of one of the fake stereo effects is the drums in Good Morning Good Morning.
The drums are panned in the center but for the fast 16th breaks on the snare they are split left/right. Disturbing to my ears. Sounds like Capitol duophonic in that section.

Or if you have Love CD. Compare the verse of Mr. Kite.
Giles used the same template of the stereo placement of the instruments/vocal.
But whereas on the Love version the instruments/John's vocal are coming from specific direction of the stereo image, on the new remix he added fake stereo effects to them and they're sort of flying. They lost their focus in the stereo image.
Easier to hear on headphones.

Ondra

 

Yep, the lead guitar and the organ were demixed. In one of the breaks the lead guitar is shifting center/left as the demixing process is not perfect and causes this artifact.

Ondra

 

Hello,

I could live with some of the de-mixing artifacts.

Thank you very much for your specific examples.

While it is still a matter of taste, whether you like a fake-stereo image without directions focus or not, I think it is not a question of taste whether you hear these effects, or whether you can identify what you've heard is fake-stereo.

Thanks for your examples.

 

Theoretically, in the analog domain there wouldn't have to be a frequency ceiling, as in digital, although in practical terms they had certain limitations by the mics they used, the filters, the cutting process...

I don't know in this case, I just know I prefer the hi-res version (I don't know if it is really just the CD version with higher bits and sample rate or if something else is different like EQ, mastering...)

 

The digital "fake stereo" is on those elements that now float between the speakers and don't sit solidly in the sound stage.

It's heavily used on the vocals of "Getting Better" and all over "Mr. Kite" and "Good Morning, Good Morning".

It sounds awful and no need for it.

They could have just tweaked the previous "Rock Band" mixes (minus the demixing) and it would have been far better.

 

Seems like a 50/50 split on here with some liking the new mix some not and yet on other (mainly UK) forums it's resounding positive view of the album.

 

Well my UK view is it sounds pretty much inferior to an original mix on vinyl even the 2012 digital vinyl. The problem is partly the mix and overemphasis of some instruments and vocals, but it sounds like a slightly toned down loudness wars CD. In other words you can't turn it too loud and end up wanting to turn the volume down a notch. I think with the remixing there is added digital compression to whatever there is on the tape. Since Giles claims he cut this flat from the files it must be the result of the digital mixing process. This sounds loud and not in the good way the AAA mono does. I have to say this is the only digital sourced vinyl I have had that I was tempted to bin (returned for refund due to a severe warp).

 

Unlike us here I am sure Giles and the team with all his experience probably know more about it than a few of us on an internet forum telling him it's wrong. It to me and many others sound superb just like it was to hear those master tapes for the first time for me.

 

I think the master tape is the original not this digital mash up. This is more about marketing a modernised version than anything. Being the son of the producer doesn't automatically mean you attain expert or guru status in my book. Get yourself a first press or 1969 one box vinyl pressing and report back.

 

I have heard just about every release there is, I am comparing (although it was a long time ago) some of the original masters for sound quality and basically saying that this is the best SQ I have heard since listening to those in Studio 2 Abbey Road, it has the same effect of just being jaw droppingly good, for me anyway.
Giles, I think as I have said before had a pretty good teacher who from all accounts liked what his son was doing (ps and I believe so do the surviving Beatles)

 

I've been staying away from Pepper for the last 2 months in an effort to come back with a fresh mind. I cranked the DTS 5.1 this afternoon and am still thrilled with this alternative mix. The clarity of the voices, drums, guitars is phenomenal and comes as close as we'll ever get to the master tapes. I know a lot of people complain that it's too loud but I can't agree. This album rocks!
Listening to Side 2 still brings goosebumps. Time to go listen to the PCM stereo. Life is good.

 

Oh I take it you've heard the master tapes then. My view it's typical exaggerated detail hamfisted digital remixing. It's how the music gels that is important. Here it's dissected and chucked in your face. Its supposed to sound psychedelic and not an in your face hard rock. The psych atmosphere is lost on many tracks.

 

Well said!

For me it was the very first side when I knew the remix was something special. I had heard Pepper countless times before, primarily the original mono, but I truly felt like I was experiencing a masterpiece in a fresh, more balanced light. But indeed side two shines just as much, particularly "Within You, Without You", which I feel might be the star of the whole "show". I've never heard it so lavish and exotic before. It's as if every track in the mix now stands out yet the whole thing remains balanced and full of life. This remix enhances the imaginative music in my opinion. With the original mono, I simply smiled and determined that it was probably the Beatles greatest work. With this remix, the smiling was even wider and I now have no doubts it's their crowning achievement.

I think the greatest compliment you can pay to a remix is that helped you to better appreciate all that went into an album's original vibe and creation. This remix was wondrous proof of that. At least for me. And, I'm glad to see, quite a few others.