Those placements sound like what they did with the Rock Band remix, there’s nothing panned right on that either. I guess the options for panning right are either the second organ or the drums/bass.....and from that standpoint, I think they made the right call.
The Bruce Spizer book on the Beatles on Apple Records has a very detailed section on the White Album. Included are a dozen examples of the numbering variables. One of those examples is a 027. Spizer has done a remarkable job of assigning different numbers to different printers. He mentions 027 is part of his personal collection. The printer was Bert-Co, he states after the reached #100, the following numbers were preceded by a series of zeros. At around 210,000, Bert-Co copies had an upper case A and a space before the number. I imagine his new book, devoted to just the White Album, will include all this information, as well as any new info he's gathered since the publishing of the previous Apple book.
The piano or/and the castanets could be panned to the right too. Even with nothing in the right I like the LIMW remix much better than the new one. Does anybody know who mixed it with Giles? Was that Paul Hicks? Ondra
Only because that's what audio engineers have slowly defaulted to. I'm not talking hard panning. Just a little to get the bass away from the bass drum. Any live recording from The Who has the bass, guitar, vocals, and drums placed where they stood on the stage, and it sounds great.
I’ll have to look it up but my guess is Paul Hicks. Edit: just checked, it was Paul Hicks. Paul Hicks | Credits | AllMusic
With flats and treble cranked on the neck pickup it seems. I like the sound either way. It doesn't sound like a Fender Bass VI at all.
Not really. When you are physically there watching a live band, you generally perceive everything in mono, with the ambience/acoustics of the venue in stereo around you. Lower frequencies are generally the "anchor" of a soundstage so are generally centered.
You're talking with a bass player, so I know how that all works. If you actually have a good bass tone, you don't sound centered. You sound like you're where your amps are. The bass is not an anchor of any kind. My former music professors would cringe at that notion. Anchors are meant to be thrown overboard.
Yes, I think it must be as I said earlier on, that things have been done the way they have for very solid reasons. It's just that we don't know what they are and so we aren't seeing the overall picture.
This pretty much sums it up for as well, to a tee actually. I think I'm good with my tube cut UK -1, but will be looking forward to listening to the new tweaks. I could hear some nice air in this latest version too, which bodes well. I noticed I could hear the trotting percussion more prominently on the new WMGGW, although I could also hear it better on my UK Blue album WMGGW than the White album tube cut -1. I'm pretty partial to the tube cuts though.
Mainly Vocal, acc gtr and drums center. Bass Right, and the rest here and there. Claptons gtr mid when he solos but during verses and choruses he is on the left. This is going from memory.
Yes, and it sounds great. There's plenty of stuff on the sides so it's not congested. Having the drums solid in the middle makes it much more crank-able.
Also, I think that as demixing technology is still in it's infancy, they probably only resort to it to a limited degree, as it so far produces artifacts. It may well improve but until it does, they probably prefer to utilise the separation they have at their disposal without it (including going back to earlier pre-bounce tapes).
I not sure anyone else noticed, but all the tom fills move to the center and left channel - that does not happen in the original stereo and you would not be able to hear that if the mono drums were centered. To me I really dig it - not a big deal to most folks I guess.
I am much more apt to believe that Paul played the part on a Fender Jazz than a RIC bass. I'm only an amateur producer and engineer, but I've have a pleasure of recording a few Fender Jazz bases. They're bright because they have a middle and a bridge pickup. WMGGW sounds more like a bridge pickup with the treble maxed out on the mixing board than a RIC bass, IMO. I'm not sure of that, but I'm thinking of "Silly Love Songs" as a bit of a reference. I realize RIC basses have a bridge pickup as well but I've always found them to sound a little dry and not as bright overall. Nevertheless, I've never known Paul to play Jazz basses. I remember George playing a Bass VI during the "Hey Jude" video. Then again, isn't there a famous shot of George wearing sunglasses playing a Jazz bass? Bass and drums panned roughly to the middle has been the modern way of mixing since the mid-70s if not earlier.
I think in 1967, 1968 and 1969 they were reluctant to put drums right behind the vocals because it may have been thought as not being stereo enough as odd as it sounds so they always wanted some kind of separation between the two even if it meant panning the drums to one side.
With the Imagine and Paul's Wild Life and Red Rose Speedway enormous box sets coming out, I was wondering what could be included in the Beatles White Album boxset that isn't?
That makes sense, because usually the drums were on one track.. quite often along with something else too.
I agree to your reasonableness, and still I say ALL. NOW. Please.... I too am disappointed in the apparent lack of the earlier band attempts, especially any with backwards lead guitar experiments. But who knows, maybe they're dropped in a few seconds of backwards anyway, maybe between Clapton guitar lines.
