There are plenty of people on this forum who prefer the American pre-Sgt. Pepper Beatles albums, and those had utterly no input from the band.
Good. I’m still waiting for the stereo mixes to be remastered (and released digitally) with no limiting. Unlikely to happen, I know.
Because it’s a fresh take and can sound good? I’d always understood it was the mono masters they signed off on so as has been stated we should be bemoaning the fact that all those can’t be bought - on CD? Or was it could be streamed? I’m confused now! Just enjoy the music. Luckily I’ve still got my old blue and red CDs in case the Internet collapses.
I'm for this and agree with Mr. Martin in that the current Atmos Sgt. Pepper is lacking bottom end. So, I'm all for the remix. Besides, for those complaining, you can turn the feature OFF and listen to it in regular stereo if you don't like it. I'd like to know what he meant by "theatrical mix' though. The original non-Atmos 5.1 Pepper mix in 2017 was released on Blu-Ray. Was that taken from a larger Atmos mix? What was the original Atmos mix for? Was there plans to release Pepper in Atmos in 2017 but that changed to 5.1? Was it mixed for a film project? I'm hoping that the new Atmos mix is more adventurous than the original 5.1 mix (which was criticized for being a bit safe, with the rears being mainly ambiance). I know there's only so much you can do with pseudo-surround, but I'm hoping he pushes the envelope here with Pepper as he has been with the later surround mixes.
The mono album's were limited. The CD box can still be bought (but buy it from a trusted seller as there are a LOT of bootlegs out there), but the vinyl box has been deleted and goes for insane money. Pepper in mono was released on the Super Deluxe set and can be streamed online.
What he means is; the mono mix was the one The Beatles signed off on and as we know (without getting into the debate on whether it was rushed or just damage control trying to mix a 4-track tape with multiple bounces into a balanced stereo mix), the stereo didn't follow the same balance, speed changes and effects as the mono mix. The 2017 stereo mix was an attempt to replicate those mono mixing decisions in stereo. Hence we get "She's Leaving Home" at the mono pitch and the effects on "Lucy" that were on the mono but not the '67 stereo. This has been Giles' method of stereo remixes from the start, using the mono as the blueprint and working from there. I think this has been Giles' strength and what was lacking from the Yellow Submarine Songtrack remixes.
yea, and I'm one of them... no input...that's funny...they only wrote the songs and made a fortune off of those albums, created Beatlemania in America, was the Beatles biggest cash cow! damn those albums! how dare they!
Fair enough. And unlike the Help! and Rubber Soul, Geoff Emerick's '67 mixes aren't going anywhere and you can even still buy or stream them.
I grew up with the U.K. Rubber Soul, but play the U.S. one more these days. Plus Meet The Beatles is a solid pop rock album.
I'm on that fence myself. I had all the '87 versions, bought the '09s, got used to them, re-bought the '87s and came close to crying when I put on the '87 Let It Be. Same with the early '87 pressings of The White Album. But, alas, I'm getting off topic...
Those that argue Giles is ruining his dad’s legacy, or the Beatles’ legacy will be shocked to learn that he is hired by... *drum roll*... the Beatles to remix these tracks and that they themselves... *drum roll*... sign off on each release.
The 2017 Atmos mix of Sgt. Pepper was just played in few select theaters at the time. Since the tech was relatively new, it wasn’t included on the Blu-ray. I am going to try playing the Atmos mix through my regular headphones today and see if it sounds any different.
Who even cares? To most rational music fans, the Beatles were a songs band, and the sonics are irrelevant to 99.99% of their listeners. I mean, this isn't Pink Floyd.
If I can borrow these or buy them cheap, I'll hear them then. Otherwise, it just seems like another way to sell the same thing to an older audience that may not need it and a gimmick for a younger audience who don't really need anything getting in the way of a great song. No one wins, except the PR companies whose job it is to get people 'on board'. They won't be giving up - after all, a little donation from a multimillionaire keeps the ball rolling, if interest wanes.
It’s not really a new way to sell the same thing over again if you can’t actually buy these new mixes (and you can’t). They’re just available as part of a Apple Music subscription which tens of millions of people already have. Even those without a subscription but are still interested in these mixes won’t have to pay a cent to give them a spin, since Apple offers free 3-month trials.
I recall reading somewhere that the point of the remixes (Pepper, White, and AR) was to make them more appealing to the young pups. The obvious audio compression is what most turns me off from them and I suspect that compression may have been applied to the various session tapes before they were even remixed. This is likely why many claim to hear things they'd not heard before because everything is pushed to the forefront. I'm glad the outtakes and demos were not abused hardly as much. As for Love, while it was an interesting listen the first time, I find the obvious digital tinkering and effects most annoying. I actually enjoy YSS despite its very narrow dynamic range, though I suspect its low DR is due to excessive bass and lower midrange. It just sounds good to me and the remixes are tasteful in my opinion. I haven't heard enough of Dolby Atmos or Spatial Audio to form any opinions, but I cannot see additional processing as a good thing.
LOL Give me Giles Martin over Dave Dexter, Jr. any and everyday. Except when it comes to hair cuts, that is. I wear it high and tight just like Dave.
I tried listening to Pepper Dolby Atmos mix on my regular ATH-M50 headphones yesterday and it sounded bit weird. Perhaps my headphones are not compatible and so I will be sticking to stereo lossless for headphones. But I can’t wait to set up my system and give the Dolby Atmos mix a try on my surround system!
As we all know, the original Beatles mixes were perfect and cannot be bettered. Any attempts at improvement are nihilistic attempts by money-grubbing nullifidians. Final word.
