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

I can't understand the hate and vitriol either that some people have for the remix. It's a new updated mix that to me sounds great whether I play it on my new-ish computer or my old Sansui. Given the technology that existed half a century ago, Giles did an amazing job. It's The Beatles with a more modern sound, but if that's not to someone's liking, don't they still have their 1967 mono/stereo to listen to and their 1987 CD? And the 2009 remasters? It's not like Giles, Paul and Ringo drove around the world in a pickup truck confiscating all the previous Pepper mixes because "there can be only one!" As long as the original mixes are still commercially available, this is a win/win for fans.

 

I didn't hear any with guitars per se, but I'd have to listen to it again. One instance where I think Giles likes did digital separation is Lovely Rita. From what I understand, the acoustic guitars, drums and piano were first recorded onto one track, thus it could only be put into the original stereo mix as one piece. On the remix to me it sounds like the piano has been digitally separated and is only on the right side (I am listening to it right now). That would be amazing if they also did that with voices/guitars.

 

Yes, absolutely. Used in about a half dozen songs. Listen to the first song.

The guitars recorded on the first 4 track tape were both on one track. The two guitars are McCartneys hyper aggressive rhythm part and some great Harrison riffing. In the 2009 cd's, McCartneys part is well heard, but the Harrison parts are a bit hard to hear. That because McCartney is playing 6 string power chords, and Harrison is playing single note riffs, all in the same space in the soundstage.

In the 2017, McCarneys part is unbelievably crunchy, you can hear it's a brittle sounding Esquire, probably through a top boost vox. Meanwhile, Georges parts (sounds like a Gibson) has its own space ( i.e. In the soundstage) and every note of his great little licks can clearly be heard.

I can't tell you how I know, but this is the straight dope! But his technology will only get better.

I'm a musician and recordist and mixer so I love all this cool new stuff I am hearing. I understand that it may not float everyone's boat.

 

The piano had its own track on the initial recording. Hence the separation on the new remix (no need for any spectral editing).

 

The two guitars, George's fills and Paul's 7th chords (not power chords btw) are still coming from the same place of the stereo image. The increased clarity is probably due to the use of pre-bounced tapes, no need for spectral demixing.

Edit: the lead guitar does play power chords. Is that what you meant?
But the lead guitar has always been on its own track. I'm little bit confused.

Ondra

 

You are comparing an overall experience from 35 years ago with listening to an LP now. You certainly won't remember the sound other than it was very good in general and being caught up in the occasion. Anyway what was played back then was from the original mix which is generally fine. I just don't see the relevance of this comparison. The problem is the new mix is spoilt by loudness and compression. If it was done well without the sound being smashed it would be fine, but it is a 'Frankenstein' mix as someone called it aimed likely at portable audio players. I think this discussion shows there is more hatred for this mix than praise. Why some people think it is great I can't tell but it is most unpleasant on a very resolving system.

I'm not anti remixes. I think the Yellow Submarine Songbook remixes sound excellent and these were done with now primitive digital equipment. I am beginning to think the continuing defence of this by some posters is either a wind up or 'Kings New Clothes' syndrome. The whole 50th Anniversary thing is primarily a marketing exercise to generate cash for the label and had to be 'different' to generate interest. Especially as another pressing of Pepper was recently doing the rounds through a publishing company. The only reason I see for buying it is for the unreleased versions and demos which most buyers listen to once and then file away. You can't reinvent a classic recording as if it was recorded in 2017.

 

I'll listen again but pretty sure of my impression. I do agree that Pauls lead guitar part always sat in its own space

 

So you think the Pepper remix is "spoilt by loudness and compression" but think the YS songtrack is "excellent"? The loudness and compression doesn't annoy you there?

 

Oh, i remember the sound. The relevance being I had never heard them sound as good and got the same buzz with the new Pepper.

 

I went back through posts trying to figure out which song exactly you are talking about but if it's the opening "Sgt. Pepper" song that's not George playing the great lead part, it's Paul.

If you are talking about a different song, I apologize.

 

As was pointed out previously in either this or the previous thread, Paul signed off Choas, MAF, 1 and 1+ - great music but hardly great sounding CDs.

Also, to paraphrase Paul "It's the Beatles White Album, it doesn't need remixing!"

 

Ok.

On the 2009 stereo the initial r guitar by Paul and the riffing from George are dead center, with McCartneys manic leads just about full right.

On the 2017 PCM stereo on the Blu Ray, Pauls lead is still hard right but man it's crunchy. Sounds great, but I'd prefer a Fender, but whatever.

The Paul rhythm is hard left (as opposed to centered) and Georges parts aren't hard right, but somewhat, a smidgen perhaps toward the center. Enough to hear it. When you hear it you will know it.

On the 5.1 mix, the soundstage just gets bigger so it's a little easier to hear.

There are other examples on the remix that I won't bore you with. By the way, you would never have had the Hollywood Bowl re release recently without this technology. I personally think it transformed something that was nostalgic into something really fun to listen to. Those boys could rock out!

 

Going off what I am reading here is an extreme minority who dislike it ( they usually make the loudest noise) and mainly this forum?

 

Not on the vinyl lp.

 

I don't like the sound of the YS Songtrack on vinyl at all.

 

No I know that. It's Pauls rocker. But, the remix gives us an opportunity to hear George play some great single note riffs that get buried in the mix back in the day.

The 50th lets you clearly hear them.,

 

About a month ago, I pulled out my vinyl copy of the YS Songtrack. I stopped listening halfway through the 1st side. I thought the SQ was too compressed.

In fact worse sounding than the latest Pepper debacle.

 

Apparently it was.
Anyway, the Pepper remix has come out in vinyl too with less compression.

 

Wow this is extremely fascinating analysis, and makes me want you to do more dissecting for us! By the way, did John play guitar at all on the SPLHCB title track? I thought the book that came in the deluxe said he did. That's McCartney not John huh?

 

That is what I have been referring too. For whatever reason these remixes sound more compressed even with a claimed flat transfer for vinyl.

 

I've always loved the fills from George. Especially the bending during the chorus. I used to play only the left channel of the original stereo mix without the lead guitar to hear the fills better.

Ondra

 

Sorry, that's not what you said at all, you said loudness and compression ruined Pepper, but offered YS as an example of an excellent sounding remix, then specified "on vinyl", and now you are changing your argument.

 

Yes, the book says that John played the rhythm guitar. It was Paul though.
Paul on rhythm and lead guitar, George played fills. John only sang on the title song.

Ondra

 

No need to change anything - love his work

 

I think what you don't understand is "I have heard the master tapes at Abbey Road" is an extraordinary claim. It's not "trolling" to point out that you did not, in fact, actually hear the master tapes.

That isn't to say that you didn't enjoy what you remember hearing over thirty years ago or that what you remember hearing over thirty years ago wasn't incredible or awesome. The point is that what you remember hearing over thirty years ago wasn't the master tapes.