Log In
Register
7.04pm
6 July 2024
Offline
Greetings to all,
I am a new member and have been a Beatles fan since ’63. I still remember buying the “She Loves You ” single on Swan records, yes, I’m that old. I’m a bit of a collector and have had the German, Parlophone, Japanese, Mofi, and Capital LPs. I grew up with the Capitals so that tended to be my reference for a long time… I’m also a looney tune audiophile and have been a professional musician staring in the ’70s. My first bass was a ’63 Hofner bass. I came to hate the sound of it. No punch and far too burpy. I thought it was only good for early Beatle covers. I was delighted when Sir Paul started to use a PBass and his Rick. All of these pressings had differences in eq and cutting levels. My personal references are George Martin’s ’08 mono remixes
I have a complaint with the remixes starting with Giles Martin’s remixes. I just got the Revolver Super Deluxe set and, to my ear, this is the worst yet. I don’t like the re-equalization and remix on the bass and Sir Paul’s vocals. I found the way they were upped in volume and the bottom was boosted is beyond good taste. I had this complaint with the earlier remixes but this one is simply over the top. In a couple of songs, the bass is featured over the voices in the mix. I know some of this is to meet current expectations to achieve a modern sound, but is it authentic or tasteful?
I believe Sir Paul has, deservedly, a big ego, but with respects to Sir Paul and hordes of Sir Paul’s fans, has he taken this to far, to the detriment of the Beatles sound? Or, is Giles Martin, and in this case, Sam Okell, trying to differentiate themselves from the previous mixing engineers?
I mean no offense to anyone with this post, I’m just trying to understand the decisions made here. Does anyone have any inside information on any of this?
Best regards to all,
Jack
11.27pm
10 January 2024
Online I also wonder why they do those kinds of things on the Remasters and Remixes.
It really annoyes me beacuse of my hearing loss and its too loud or soft in one ear. I think in a lot of the remasters are in stero but to an extreme. My best example is with A Day In The Life . The vocals switch from only in Right to only in Left ear to back to only inright ear. Its really annoying and I think it’s a bad choice.
I’ve tried listening to the mono remixes, they’re also in stero. WHY?????
"Now just like Sister Ray said ... Whip it on me jim!"
- Lou Reed or Something
12.14am
28 March 2014
Offline 
I never revisit the Giles remasters/remixes, or whatever you want to call them.
It was blasphemy when he actually changed the ending of “I Am The Walrus ” on the 2024 Red 1962-1966 LP.
Do you really think John Lennon would have approved of that??? 
The following people thank Bongo for this post:
Mr. Moonlight 
BEATLES Music gives me Eargasms! 
12.45pm
26 January 2017
Offline Does anybody else notice uneven volume on the Taxman 2009 master? I was playing a lossless file through my sound system and was getting irritated by it, I played it again through spotify and noriced it there as well, so perhaps not an issue with my file but with the master? It was more difficult to notice from my phone speaker, but when I played the original mono mix in 256 kbps as well as the Giles 2022 mix there was no volume issue.
"The pump don't work cause the vandals took the handles!"
-Bob Dylan, Subterranean Homesick Blues
"We could ride and surf together while our love would grow"
-Brian Wilson, Surfer Girl
6.46pm
2 May 2013
Offline Personally I take the Giles remasters as deliberately trying for something different. So many remixes by all manner of artists entice the fans in, and often it’s just a loudness war with maybe a bit of added clarity but the same damn mix or a very very very close approximation of it. The idea (I believe) is that the original mixes are to be differentiated from in some way to bring out new features, and, certainly on 1962-1966, to put some of the tracks in true stereo for the first time ever AND to remix to a) give existing fans something different – new sounds previously buried in the mix to enjoy and b) entice new fans in with a MODERN sounding mix to current day separation and soundstage standards. Personally I love that you can hear the rhythm section in more detail, but then I always loved the original mix of ‘Rain ‘ which I like to think is a template, it still sounds wonderous. Have mistakes been made? Certainly, and particularly on the ending of I Am The Walrus which buries what made that ending great. Playing both 1962-1966 and 1967-1970 again over the past few days, it’s a lovely punchy collection IMO. Giles did good. Otherwise no point in buying the same stuff again with OAP ears IMO.
11.56pm
21 February 2024
Offline In My Opinion, it is very too much overkill. I agree with reissuing on CD in 2009 because it’s never been done. I agree with a 50th deluxe for Pepper, White and Abbey Road . I agree that Let It Be needed a 50th because of the unreleased songs, movie, footage and rooftop material. I’ll even go as far to say Revolver deserved its deluxe reissue in 2022. Heck, I’ll cut slack on the pandemic and nod to releasing the MiniSeries Get Back in 2021, and IMax in 2022 and original remaster of the Lindsay-Hogg film in 2024. (That’s good because Beatles release last song Now And Then which is an actor for Abbey Road and then end it off with a reissue of the MOVIE because it mirrors 1970.
BUT! There really should be no more releases. It would be very much overkill to release a deluxe treatment of Rubber Soul and previous, especially since there is no real new titles. I am hesitant about the USA Vinyl releases this fall but as they were discontinued for 40 years I can let it slide. That’s very much like the Christmas Records 7″ Vinyl release in 2017.
60 is a weird number. Wait until 75 or something, because it’s overkill, no matter how much you want to capitalize on the Beatles fame while their fan base is in there 60s-70s.
Make Beatles Great Again!
#LennonMcCartney2024
5.07am
30 August 2021
Offline Remastering for new media is one thing but I really have no interest in the remixes. I just want CDs that sound as much as possible like my old vinyl singles, EPs and LPs.
"Nothing is Beatle-proof."
1 Guest(s)