Discussion in 'Music Corner' started by audiotom, Aug 9, 2019.
..highly depends on the remix itself.
I'm hoping to like the outtakes, as much as I liked the "white album" outtakes.
Excellent, they have done a good job with these sets of giving us new stuff while keeping the Anthologies somewhat relevant, frankensteined mixes or not.
What I know I like already is the fact that everything that’s on the deluxe CD/vinyl edition is on the 3 LP edition; Sgt. Pepper and the White Album both had to abbreviate the bonus material for the vinyl.
Probaly the first thing i will listen of the box set is the long one, curious to hear the early cut of the medley.
I'm going straight for the "I Want You" outtake. Seems like it will be exciting listening!
in the 2019 mix, what happened to Lennon's piano at 1:40?
It seems very muted.
To complete this information:
The only two takes that are the same as in Anthology 3 have important differences, so we might as well consider there is no redundance:
-The "Something" demo features a piano overdub not present on the Anthology 3 presentation.
-Come and Get It is the original 1969 mix on the box set (in Anthology 3 it was an 80s mix by Geoff Emmerick).
Absolutely awful mix - does not make me excited about what's ahead at all.
Alternate upload - sounds better than the VEVO upload which sounds a bit processed compared to this:
How about that Moog sticking out at the end - 2' 53''.
With some bass and drums attached, that studio demo of "Something" could've fit on All Things Must Pass.
I loved the 5.1 mix of the White Album. Looking forward to the surround mix of this classic.
The price of the super deluxe box is alright that I might buy it even long before Christmas.
George is singing on our ears on this new mix. The man is alive!
Can't wait to hear the whole thing...
I'm really excited about the "Come Together" remix. The snare and cymbals have that fantastic, 1967 quality sound (unlike the Let It Be stuff), that really works well with Ringo's drumming. I love what he does on the outro, but it's hard to focus on it, and it doesn't have the impact it should, when it's playing in one ear through the headphones.
That's one of the best things about the box sets - they try not to duplicate the Anthology takes.. and in the cases where they do, it's usually a different mix.
In a way it's a continuation of the "value for money" ethos that kept singles off their UK albums.
It works for the fans, because we're not paying for the exact same thing twice, and it works for the Beatles and their label because we have to buy it all to get all the tracks.
I wonder what tracks from Anthology will be repeated on Let It Be, Revolver & Rubber Soul sets (and what mix variations will be put on them to distinguish them from the Anthology mixes).
For instance, would take 1 of Tomorrow Never Knows be presented in an earlier stage (fewer overdubs) or a later stage (maybe there were other things on that multi-track that were omitted in the Anthology 2 mix)?
"All Things Must Pass" would be earmarked for Let It Be 50 you would think being recorded during the sessions for that album
Where is The new Come Together mix found ? & is it a short clip, or the whole tune ? Are Something & Come Together the only 2 so far ???
A few quick observations just in imo...first I like last years White 50th remix-mostly...didin't hate the Sgt Pepper 50th remix & I like the new Something mix..
Having said that....with appreciation of the skills involved, the effort...I kinda feel that Giles Martin & Sam O'Kell.....consistently 'just miss' the pocket on Audio balancing-levels, on individual parts & some of the mixes as a whole...a lot of parts seem either a hair too loud or soft--& or some of the parts in relation to each other... just judging the volume levels of individual vocal or instrumental parts...nothing is wildly out of place...but just a hair too loud or too soft- or panned oddly-or whichever..
Now this is subjective "theoretically" & there could be a myriad of causes....literally tons of reasons...having little to do with talent, experience & all that. It could have something to do with all the huge variety of equipment, analogue, digital, all the transfers, safeties, & of course the initial submixing "bouncing" using just 4trk & 8 trk from the get go...also of course the "hopefully/theoretically" much clearer sound-higher fidelity of modern day recording equipment....
Although...just to consider.....there is one school of thought that goes likes....yes modern digital equipment is amazing, clean, removes cobwebs to hear all kind of details you couldn't hear before....BUT SO THIS THEORY BELIEVES....as clean as it is.....when you start piling literally dozens of individual tracks-instruments-vocals-sound effects....into a new modern remix.....you don't get noise exactly.....but some kind of aural gunk...affectimg the mix....because of all the digitising, transferring, laying one digital track on another.... is that relevant here ? More on Sgt Pepper I'd guess...
But i'm thinking-Guessing....that as skilled & experienced as Giles Martin-Sam O'Kell are at modern Beatles remixes...as knowledgable as they are about modern Protools-& other current equipment & techniques....either others are even better....at balancing....or they're making a procedural error of some kind...I can't say....As good as the new 2019 mix of Something is....Harrison's lead vocal pops out a bit too loud....it's not in anyway an egregious error.....& simply flicking down Harrison's vocal level 2db's probably is not how to correct it... it could be EQ, or echo or panning, or the drums are bit too soft, dampened or who knows.....the bit where they get to the bridge---"Your asking me will my love grow"---whatever the lyric is...I need to listen some more....but dynamically I thought maybe they missed something dynamically..maybe it's just different...not used to it...repeated listening will be informative..
Anyway I'm trying to say YES these are very good professional mixes, & YES ir's complicated & difficult...to remix them to exceptionally high standards....But to me....perfect balancing...is an earlier step in the growth of a sound engineer....creating weird backwards effects or new ways to use a leslie speakers rotation on a guitar...to me that's creative stuff you'd be good at later.....but to me....perfect balancing of where the vocal sits in the track & the overall balance between everything, to me those are fundamentals like catching a fly ball or throwing a strike.....you learn balancing first- & become a hotshot super engineer later...inventing new techniques or sounds....but these guys seem to have trouble just putting everything in the pocket & balancing levels....things just seem a couple hairs off...
But its good kinda, fun to hear, thanks Beatles, Apple, Giles & Sam, Abbey Road....i'm kinda wondering though, if guys like Paul Hicks & some of the other Abbey Road staff, are better at relative balancing than Giles & Sam & maybe the support staff should be more hands on in the future.
There are two different snippets heard in the promo videos.
I think these are just subjective tweaks that Giles and Sam are making. If we look at the 2015 Mix of Something, the vocals are quiter, so clearly Giles felt he wanted to make them pop a little more for this new mix, especially on the double-tracked vocals and bridge (a lot of this is due to the slight panning he did on the vocals, which I love).
I really like it. I'm very optimistic for this release.
Are all four Beatles on "Come And Get It" ?
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