Yes they need to keep the timeline intact if they they add bonus tracks, which they should. Each volume could easily get 4-5 extra songs and not go over the space limit and still keep it to 6 CDs! Hopefully we get 15 new bonus tracks on an Anthology remix/reissue in the near future! The "Threetles" Jam at George's house (Raunchy, Thinking of Linking, Blue Moon, etc.) and any outtakes or alt-mixes of Free as a Bird and Real Love and a completed version of "Now and Then" could be included on a separate 7th disc (Come on Paul and Jeff, finish it!). Would be great for remixes of the "Sessions" tracks alone, but others could be improved in the mixing department as well.
Hmmm @Onder and I concluded there was ADT applied to those vocals (though tracked). And the backing vocals on the Sexy Sadie remix, same question?
Im not to far from here...have you ever driven Lower Wanker Dr.? a cool place to listen to Revolution #9!
This is, in all honesty, the first time a remix of the Beatles has felt "right"..........I think they've got it down......now let's get on with all the others.
The performance in the left channel is different from the performance in the right channel. Listen to the first "happiness" and pay close attention to the "s" sound at the end. The left channel has at least two layers of vocals and a more drawn out "s" sound. The right channel has two more layers of vocals and a much quicker "s" sound. The layers of vocals, however, are all different. The piano intro has very obvious delay. It's not a double tracked piano; you're hearing the same performance in both channels, just delayed in the right by exactly 63 milliseconds. The backing vocals are also delayed (ADT)--no double tracking.
Great! And do they appear to be coming from one side of the stereo spectrum, in the way the vocals on the '68 Ob-La-Di appear to be coming from the right?
The left channel backing vocals are delayed by 35 milliseconds (meaning the right channel is slightly ahead).
Actually, I should clarify. There are double tracked vocals in one channel (layered vocals), but then they are delayed and replicated on the other channel. So, I guess you could say there's both double tracked and ADT applied.
Haha. Here's the answer (since you won't!) : The backing vocals do not appear to be coming from one side of the mix in the way that the '68 Ob-La-Di vocals do. My next question: why is that?
Not sure what you're getting at, but they would seem to move from right to left, based on the delay. The backing vocals are pretty balanced, volume-wise, between the left and right.
Sure they do. Listen to the background vocals at 2:10 where they are by themselves. They move right to left, exactly the way the lead vocal in the '68 Ob-La-Di moves from right to left.
The delay varies between what? Why would there be a wobble effect? When I say "move right to left" I don't mean that the delay changes. I simply mean that the vocals appear in the right channel before the left (the delay).
For those of us who are lying at the side of the road, dazed, after all the twists and turns of this courtroom drama, would you state exactly what your "case" is?
The Frank Ifield tracks are actually live onstage. But the title of the album was cleverly worded and intentionally misleading. It should be read as: Jolly What! The Beatles (and Frank Ifield Onstage).
Look a minute ago you implied there was a constant delay of 35 milliseconds The Ob-La-Di vocals appear to be coming from the right, because there is a constant delay in the left channel (volume is equal in both channels). The Sexy Sadie vocals do not sound as if they are coming from one side, because the delay varies - the delay is not at a constant rate. My point is, the Sexy Sadie vocals have variable ADT, and they do not sound 'wobbly'. You had said that if variable ADT were used, there would be a 'wobble' effect. I had said no, not necessarily.
You know what would've been nice for RSD? A 12" with Rev 1 Take 18 on one side and Helter Take 2 on the other.
I thought we put this to rest several pages back when I said I agreed with you. Yes, you could vary the speed of the tape machine without introducing pitch wobble if you did it slowly. This would also depend on how far apart the record and playback heads are and the speed change of the tape. The greater the distance of the heads and larger the speed change, the more noticeable a pitch wobble would be.
And here I thought it was not 'put to rest' when I said "agree to disagree" and you said you "agree" with that lol.
You know what would've been even nicer for RSD? A 12" with Rev 1 Take 20 on one side and Helter Take 3 on the other.
I believe it’s “Artifical” rather than “Automatic” double tracking. And as stated, it’s not quite tape delay, but that’s in the ballpark.
