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It's more than a little ridiculous that these are being released on vinyl and not digital (and the music industry wonders why it is hurting financially ).I'm pretty sure I remember that the mastering chain for the CD's went something like: 24/192 > D to A > mastering on analog equipment (EQ, etc) > A to D (24/44.1) > CD (16/44.1). So I wonder what the chain for these LP's is?
Without going too far out on a limb, I am going to say these are vinyl versions of the recently remastered CD set. I sincerely doubt that these will be analog, but the observation that "my copies are worn out" or "I'm missing this one or that one" are valid for me. Knowing me, I'll probably buy the box but will troll the stevehoffman.tv website for the best price. Surprisingly, one vendor or another will frequently have a much better price, sometimes it's even worthwhile ordering overseas.Paul
I think you're thinking about the original releases. In 2009 they remastered everything and they were released as 24/96 files, and they do sound a little harsh to my ear too. Actually, McCartney released a few of his albums at 24/96, compressed and uncompressed and they too were unremarkable to my ear. But I think that's in the original recordings. I don't think those guys were all that concerned with wowing us with sonics, they were more interested in the whole package. So some songs were down right dirty and rough, especially the earlier stuff with radio in mind, while others were pristine or lush or whatever. What I'm trying to say, and not too well, is that I think the sonics were just one tool they used, so sometimes it's stunning and other times it's just meh.
You have to remember that these recordings were made a long, long time ago, when even the recording equipment by today's standards was very primitive. Early stuff from many bands where done on 4 tracks or less. Microphones were no where close to the fidelity, distortion (or noise) level as with today's equipment. That is probably one of the problems remastering this stuff. The engineer has to ask himself if the distortion is on the tape, or from another source in the remastering studio. They did make a comment that noise reduction filters were used in several spots, even if it was only 5 minutes worth of music time.In the end, you can't make a silk purse from a sow's ear......Wayner
"de-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes...."
Nope, you are wrong. The Beatles have never been released as 24/96, and the only "approved" digital masterings since 1987 were the 2009 24/44.1 versions which were different from the 24/192 partially mastered versions.
Anybody out there read this 28 years ago:28 years to stroll the English countryside (or the boulevards of Paris ... ) to find near mint originals.
Here is the link: http://www.musicdirect.com/p-100303-the-beatles-the-beatles-stereo-box-set-limited-edition-16lp-box-set-43-book.aspxMy couple of questions is 1) who did the pressing and 2) are these titles available as individuals as well?I certainly don't want to hear 'I wanna hold your hand" ever again, but would be interested in Abbey Road, Let it Be, Sgt. Pepper, Yellow Sub, Revolver and the White LP. The rest I'm not interested in at all, and at $400 bucks, yikes.Wayner
I have the MoFi Collection in the black box and the British blue box of Parlophone and Apple pressings (both stereo) plus original U.S. pressings in mono (not clean copies since they had to survive college and law school). I can't imagine these being better, but only a listen will tell one for sure. I am likely to pass and hope that they do a vinyl remastering of the Mono mixes. If they use the CD mono box set it should be pretty good.Laura
Laura, what is your general listening preference between the Blue Box and the MFSL LPs?
I never read it but it sure makes you wonder about the validity of the things you read.
As far as the Parisian boulevards, I never did make it to Les Puces de Saint-Ouen...
In cutting the digital masters to vinyl, stringent safeguards and procedures were employed. After cutting to lacquer, determined to be warmer and consistent than cutting to DMM, the next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting,' a procedure to increase the sound level.
