News

Apparently from all countries

Its blocked in Australia.

Any chance you can edit out the music, keeping only the speech, and re-upload?

How about having some other site host your video? I'll bet LiveLeak won't censor you.

Universal is blocking .

Universal behaving like idiots. Guys it's good publicity!

I loved the bass energy and pop on the (somewhat maligned) stereo remaster from a few years back, so I'm looking forward to this one big time!

I've not been in mastering sessions as long as Gilles or Mikey, but frequently there's much more bass "on the tapes" that was EQ'd out of original pressings. And often there are mastering notes in the tape boxes that show exactly how much and where in the frequency spectrum. My reissues of Stealers Wheel and Flying Burrito Bros. are examples; in both cases we actually trimmed the bass but not nearly so much as earlier pressings and of course we had no need of pushing the midrange and treble harder. I think this is how mastering engineers used to try to get things to pop for radio.

In any case, can't wait to hear this new and hopefully improved Sgt Pepper!

... they were already telling "Elvis has left the building" jokes.

But i have to say that it's near sacrilege to mess with these mixes.
I grew up with the stereo Pepper, and that's MY version. Yes, i'm now an audiophile and I do care about quality and clarity, but ultimately - it's Pepper. It is was it was. There is something unique that gets lost when we revisit every decision that was made originally, because somehow it should be "better". I think this is essentially a misguided project.

Burned out on Sgt. Peppers.

There, I said it.

Can I keep my fan club card?

Really interesting stuff, and no apology required for the video quality. You got us in the room Michael. Much appreciated!

Just being able to conform the new stereo mixes to the original mono mixes by using the elements before being bounced should result in much greater clarity and frequency response. Can't wait to hear it. Thanks for posting the video too

Will Somebody Please Break His Fingers & Leave Perfection Alone!?

With all due respect J Carter, IDONO? For me the original recordings were perfect and I don't feel a need to change history or to make their sound more modern per se. As it is, it's unbelievable how man different mixes of certain songs were released all over the world when they were initially released (the slight variations, etc.) and I truly find no reason to mess with it. For me it's all in the mastering and well enough should be left alone. I recall reading some time ago both George Harrison and George Martin saying that most outtakes fro the sessions are weak and that the mixes hold their own. Christ, the album was done on a 4-track (or 2 seperate 4-track machines, I forget?) with bouncing done galore. And look at the outcome? Magnificent. As for the hard panning, I always liked it cause that's what stereo was about in 1967 (and sometimes still).

I received an email from Allan Rouse some 7 years ago regarding the 2009 remasters and specifically talked about a milisecond tambourine drop out on Day Tripper and how they repaired it via cut and paste. Why?? What was wrong with the millisecond drop out and why repair it digitally? This is "Analog Planet" right? BTW-It wasn't repaired on the mono reissues.

Strawberry Fields now comes to mind with the edit of 2 takes at different speeds which resulted in different keys. How freaking magical is that song? It's a studio masterpiece. Does it really need a remix? If recorded today some nincompoop would push a button, speed it up and the 2 takes would be in exactly the same key without a fraction of the artistic creativity that the tune possesses. And it would most likely sound overly clinical and digital. (again, just my opinion).

Personally, I see this is only a money grab for the label and surviving Beatles which I find disheartening. I would much prefer the best possible transfers onto Vinyl or CD and leave well enough alone.

Rock n' Roll!

-StonedBeatles

Did I forget to mention that I can't stand Giles Martin!?

I mean REALLY?(apologies to Seth and Amy)Brian Wilson mixed Pet Sounds to spacious mono and we lived with it for over 50 years(not counting the horrible stereo mix)but like those ridiculous 60's comps(Be My Baby remixed to true stereo!)if your going to center the vocals to sound like mono...leave it mono.

some 3rd stringer in 1967 said, "This is good enough. People will get a kick out of hearing disembodied sounds that sound nothing like an actual performance!"?

Anyone know if the hi res 24/96 mix is available for download, I note that a digital version is included with the two disc set, my computers have not got blu ray drives in them and I don't think one should have to have these in order to be able to put on my dap player. This only encourages piracy which I don't want to support

"After listening, a cynic might say the enhanced drum and bass sound might have to do with who are the two living Beatles".

As any scientist would say, anything's possible.

But, we also have to use our collective head. As a lark, let's try doing that now.

Were either of the "two living Beatles" present, or involved in Giles Martin's remastering work? If so, did they have any say on how the mix should sound, or was their input mostly general or informational?

More likely, Giles Martin's telling the truth about the extra bass and percussion energy being present on the original tapes. Until about 1980, nearly all pop records were highly compressed - especially with respect to bass and drums. Good digital remasterings of pre-1980 rock recordings have nearly always revealed deeper and more powerful bass and percussion. The Beatles record is hardly the first in that regard. That's been true for decades - I wonder why M. Fremer's so surprised by it?

Indeed, it's even been true for digitally remastered classical and jazz recordings. Somehow, M. Fremer's been innocent of all of that for all of these decades.

Finally, drums have been steadily getting louder and more present in rock recordings for many decades. There was even an NPR segment revealing a study that was conducted comparing the spectral energy of pop/rock recordings from the 1950's to the present. The noise spectra of percussion has decisively risen over time. It led the scientists to conclude that today rock music is "mostly noise". Of course, they meant in an energy spectrum sense.

Giles Martin may also simply wanted his new remaster to sound more contemporary, meaning it would have more bass and percussive energy.

Thus, we may see that there's no need to engage in conspiracy-theory speculation, accusing musicians of greedy and/or nefarious intentions and assigning blame to them.

IMHO the mono mix is superior in that the band brought out parts they wanted you to NOTICE as opposed to "there's so much to hear", which seems to be, to me anyway, the case with the new stereo mix.It's too in your face and nowhere near as cohesive. (Ringo's famous fill on WALHFMF sounds like a pumped up overdub.

This really struck me more than ever when I played the mono (at the same volume) right after listening to the re-mix. It's not possible for this new mix to be my go-to.... I like the 3D cover though.....

Hello Michael..anxiously awaiting your more in depth reviews of the CD and LP. I'm even more curious as to your opinion on the Stereo Hi-res Blu Ray version. Thanks.