@@juan.orduz.musico No, not soon. Giles Martin has already said twice he has a number of other projects he wants to tackle so it won't be for a long while.
@@rafaelandrade7627 That’s a very good point. John could be so abrasive, pithy, even violent at times, but I’ve been growing to understand that he was also fragile and soft, that all the anger or whatever was really a defense mechanism. I’ve been reading books about John for 30 years, but I think I’m just now understanding how multidimensional he was. He didn’t want to stay the same angry guy he was before. He wanted to be better. He was pretty open about his faults in his interviews and music, kind of just acknowledging the past so he could move forward to being better.
@@Lukronius i completely agree with you. John had many faults, but he always owned up to them and always tried to be a better human being. I think his childhood left him with too many traumas, and it took him years to figure himself out. I love his music because it reflects John as he is. The good and the bad. I mean, very few artist could create something as heart wrenching as "Jealous Guy". He really pulled no punches on himself, and that's not an easy thing to do.
I think the new mix changes the song into something completely different. The addition of the bass and drums totally kills the song's dreamy, Beach-Boys-esque atmosphere.
@@eedoo2 I disagree, it makes the song much fuller and more like a complete song and it doesn’t remove its dreamy aspect. But hey, there’s still the original mix, so it’s cool to disagree
A highlight of all these remix sets has been the increased clarity and presence of the backing harmonies. No better example than Here There and Everywhere. Just gorgeous!
The point is that in 1966 no one listened to records on headphones. The original mix may occasionally be sloppy, but it works just fine if played on a stereo in a room. It's actually pretty punchy and energetic, more so than the new mix. I believe that the new remix was really only necessary because these days, so many people listen to music on headphones.
@@dondevice8182 Not really. I don't remember any of my teen school mates having headphones. I was 15 when this was released, and bought. Still have it, as I do all their albums and singles.
I'm not alone in my view, but I am adamant and strictly in love with these new mixes. I've had Revolver since 1979 when my father gave me a copy of his when I was 11. It was my second-ever Beatles album and I've been a fan since. But this is just fantastic. So far, all of thse remixes are my new go-to Beatle albums. It brings a renewed freshness and experience and helped me get back into my love for The Beatles. Can't wait for the rest of them.
Revolver is part of my musical DNA so it was strange to listen to the new remix, however I did so with an open mind and... remembering that Paul and Ringo had a big say on how it sounded. So....I absolutely love it 👍 This mix will undoubtedly be the one used by radio stations and other music platforms from herein. Thanks for your review 🙏
Whats amazing is even by TODAY'S standards, what George Martin did back in the mid 1960's with the Beatle albums was OUTSTANDING! The quality of the recordings propelled the group into a better place than what might have been with poorer fidelity production. It IS fun though to hear these tracks brought more FORWARD to the listener creating a more intimate experience of the records you've heard a million times...., the big change is the vocals are CENTERED and balanced creating a perfect blend
Awesome review, I agree pretty much with all you had to say although I do prefer the original version of Tomorrow Never Knows over the new remix. The old mix just sounds more gutsy and raw.
All the Beatles remixes are technically impressive, but my personal listening habits go for a mix of the original mono and stereo mixes from the time (albeit usually the 2009 remasters). I find the remixes interesting for hearing things that I'd previously not noticed, but I find the overall listening experience more enjoyable on mixes made at the time, even with their technical quirks and limitations. Maybe it's just whatever you get used to.
Love your channel Eric! I’m 50, was in a HS band in 89, we played some Beatles but we switched to grunge. Because of your Beatles deep dives I have a new love, respect, and appreciation for 4 guys who did all this before 30. Thanks VG!
I agree with your sentiment about expecting the new mix to sound very different from the OG mix. The Sgt. Pepper’s remix sounds completely different from the OG mix and it’s like night and day. It’s probably due to the sound quality of the original recordings that kept the new mix from being a revelatory experience. Great video!!
I love that you included all of the short clips - it helps a lot. I agree that And Your Bird Can Sing sounds worse, and all of your comments about it being better when John's vocals surround you
Honestly I’m so glad Giles has given us what is, in my opinion, the best mixes we’ve gotten of Revolver and Sgt. Pepper. I get folks arguing for mono more but I feel like us getting the best versions of the stereo versions of these songs adds so much depth to what we’re essentially two of the most lush albums ever made that I prefer them for that. It just feels more enveloping sonically in stereo to me, at least with these more baroque pop tracks.
im desperate to hear HELP! remixed, best album for me all my life, help,ticket to ride, hide your love away,yesterday,your gonna lose that girl, ive just seen a face are pure genius. always feels people dismiss it too much, love the channel!!
This is exactly the kinda video I needed today since I just bought the stereo mix just by itself along with Rubber Soul at Walmart a couple minutes ago and won't be able to listen to it until I get my record player for Christmas. Thank you Vinyl Rewind for making me confident in my purchase cause I was worried I was making the wrong choice not getting the mono mix lol.
You’re review is about spot on. I’m glad you caught the original stereo version also has the lack of guitar on She Said She Said but it’s less apparent. I feel a lot of people don’t realize that. However, I’m shocked Giles couldn’t fix this on a remix. I’m also shocked that Giles didn’t make the new mix tracks longer like their mono counterparts (in all fairness he may not have been able to do this). Tomorrow Never Knows was recorded properly in original stereo so Giles couldn’t do much with it. That being said I feel like he could have made the guitars more in your face louder during the 1 minute mark. Overall the new stereo mix is amazing…..
This was a fantastic mix review! Your comparisons and descriptions make this the absolute best review I have seen / heard. Thank you so much for this!!
I would’ve put both lead guitar track to left in order to avoid that empty sound. No clue why Giles thought keeping one lead guitar to the right and the other sloppier one separated to the left was a good idea.
Nice video as always! I would like to add to your take in the beginning about the original stereo mix - the album was originally recorded on four track with a mono mix in mind. Stereo was still in its infancy and was seen more as a gimmick. The record labels commissioned a stereo version, which really just hard pan the four tracks. This is why it can sound quite jarring and uneven. Giles was able to use a computer algorithm that can isolate individual instruments, so used that separation to create a more balanced mix. Fascinating really.
Thank you for a great review; how you play snippets of songs for comparison. I don't know why other reviewers say, "Sorry, can't play it for you- copyright issues." Your review, with song comparisons, really reinforce your expert opinion. I'm enjoying the new stereo mix on vinyl, have yet to listen to the enclosed mono.
The reason they say that is you can’t monetize your videos if they have copyrighted music, and they would rather be able to put ads on. Personally I would much rather be able to hear the song comparisons and then support the creator on Patreon ☺️
I'm just thankful we now have mixes of these songs, digitally, that don't cram every instrument into one channel and vocals into the other 😌 Please, Giles, keep going back and remastering these!
Loved the video (as usual!). I don't think there was anything that could have been done to make it sound "bigger" without essentially re-producing the sounds in some way (adding effects or digital enhancement to the sounds), which would be completely against the ethos of the remix project (to respect the sound that the Beatles and George Martin wanted the public to hear, but making it a bit clearer for modern playback technology). If you remember, George Martin got his hand slapped by the public for simply adding a tiny bit of digital reverb when he remixed Help!/Rubber Soul in the 80s. You could imagine if Giles had added any effects to smooth that janky rhythm guitar on "She Said," they'd have his head (they're already up in arms merely because now they can pick it out more clearly!). That said, it would be interesting to hear the 1966-1970 Beatles albums remixed by one or more producers with full rein over all the tools at their disposal.
Hey man, awesome video. Respect your work. Glad to hear you agreed about She Said She Said and AYBCS. Those were the tunes that I also thought were better on the original. One thing I noticed a lot on this new mix was the quality of the backing vocals/harmonies. They sound so much clearer across the record and they’re glorious to hear now.
Everytime the Giles Martins mixes come out I listen to them 2 or 3 times and go “huh, that was interesting” and then never touch them again. Honestly I’m just glad they’re putting the mono mixes on here so I can finally listen to them on streaming
The Beatles remix campaign has certainly brought the Beatles back into modern day conversation and gives us fans a great way to hear what their music might have sounded like if the Beatles were recording today, and that's really the whole idea: to make the Beatles more relevant so that their songs can go into the 21st century not fettered to the strange mixing demands of a generation gone by. For me Revolver will always be the stereo mix that I learned to love as a teenager, warts and all. The original mixes have a familiarity that just can't be replaced by these new mixes. Its that familiarity that gives the Beatles music a lot of power and connection for me, and I suspect its the same with many of you all. Each relisten is a visit with an old and loved friend. Sure its fun to hang out with new people, but I'm just not ready to replace the warmth and familiarity of those old mixes. Its not about technology, its about nostalgia, at least for this listener. Cheers!
Heck, I even prefer some of my records, nicks and all, to a clean version, because of the nostalgia value. The nicks and scratches on my copy take me back to special places and mindsets. Still I'm interested in this new mix, especially since it is "Revolver".
I have to agree on all yourvpicks. I definitely prefer the original Tomorrow never knows to the new one. Same with Bird and she said she said. What they did to the vocals was called artificial double tracking, where you have two tape machines, take the vocals frkm the rrack to the other machine, and with variable speed control, move it slightly out of phase, and record it to the original tape, so one begets two.
Excellent review of this new stereo mix which makes me more determined to go and buy it! By the way, and this is not a criticism, 'Original' in your 'Original Mix' caption is missing the second 'i'! Doesn't detract from your comments of course!
I did enjoyed the 2022 remix, but you can tell which members of the Beatles are still alive by listening. I understand that drums and bass were harder to record and reproduce back in the day, but most of the improvements definitely favor Ringo, and especially Paul on all of the remixes that have come out. I would be so curious to ever hear what George and John would have had to say about the remixes.
Hi there. The reason the drums and bass sound better in these remixes is because The Beatles would record drums and bass and backing vocals first, then bounce them down to record lead vocals and instruments on top. They did that because you lose a generation of quality. It’s a limitation of the 4 track tape recording. So when they remaster, you hear all these subtleties that were lost when they did the original master output.
@@elescritorsecreto agreed. It’s coincidence that they are the living members. Bass and drums have come a lot further, far more than vocals and guitar I would say. And especially in terms of where they sit in a mix
Pretty much agree that the Revolver 2022 stereo mix on vinyl brings the album into the 21st century. What I can’t understand is all the praises and hype over the 2014 mono vinyl mix, which I own. I find the mono mix to be rather ho-hum and tired, like an old tape cassette. Until now, I greatly preferred my 1966 original Capital pressing I bought new when it was first released when I was 9 years old. Amazingly, the ‘66 pressing is still crackle and pop free and shows no audible or visual sign of wear, though the jacket has seen better days…
Great review. Overall, I had nearly the same reaction to the new mixes, which really need to be listened to with headphones to hear the differences, though I hadn’t paid as close attention to detail as you did. I agree some of the original mixes are preferable but, I have to say that might be my nostalgic side saying that. I’ll need to hear these remixes more to be sure. That said, the standouts that I thought sounded improved were Eleanor Rigby, Love You To, And Your Bird Can Sing, Got To Get You Into My Life, and For No One. This last one was especially improved by the new treatment. The song just sound more spacious and the instruments are more balanced. It sounds almost like a new song and I fell in love with it all over again. It’s my favorite of all the remixes easily. The one song on Revolver I always had a hard time enjoying was And Your Bird Can Sing because the guitars were always too up front. I’m a guitarist and I always thought the main riff was obnoxious. I should say I’m a Metalhead and have played in many Thrash and Death Metal bands over the last 30 years so I think that says a lot about where I’m coming from. I never got why so many people loved that riff so much until this remix. I much prefer it over the original any day and now I can honestly say I like that song.
I'm surprised how your review fits in my thoughts. The new mix was so important in terms of at least fixing the terrible stereo mistakes on the first two tracks. And thankfully, we have them right at last. I think the other great efforts are Here, There And Everywhere and For No One. Brilliant. But unfortunatelly, John's songs suffer. Especially on She Said She Said. The clash of the cymbals are burried and it sounds so dry. Polished, but dry. When I first heard the mono mix of Tomorrow Never Knows I was mindblowned by the reversed guitar solo in the middle which sounded much wilder than the original stereo mix. I was sure that Giles Martin will fix it, but it's burried again. And you're right about the sound effects, they are way less psychedelic, which is the beauty of this song. So still the best Tomorrow Never Knows version for me is the original stereo mix, but with the mono guitar solo. But otherwise the outtakes section is amazing. Especially the Yellow Submarine part. So, it's a great time for us, Beatles fans, isn't it?
Giles Martin has a good set of ears because he is relatively young and that's very important for a sound engineer. What he lacks is years of experience which is also important for a sound engineer. Some parts of the new re release sound better some don't. This new one is a keeper plus my original album recently disappeared .
Part of the reason why the original stereo mixes sound so weird is because tracks 1-2 and 7-8 on the REDD.51 console (which was used to record and mix the vast majority of the Beatles' music) were hard-panned left-right by default, with tracks 3-6 having primitive pan controls.
Almost share all of your opinions. I replaced the original and have this version saved to my phone now, since, I think it's better overall. But there are some spots where there were some interesting choices made..
I would say this along with the E-sure demos from the white album, improved frequency response on pepper and clarity on abbey road are the most impactful of the Sam and Giles projects. I will say that this one for me is mind blowing and I know Giles always says when he does these that he has many moments of “what are we doing this they are perfect.” However, on the mid earlier or early lates like this and Rubber Soul it definitely is a fresh take and we are so blessed to be along for the ride. Looking forward to your thoughts on the mono. I have the mono from 2014 and while I like the packing on the 14 better this cut has more vibrancy and presence. Sooo happy they did the singles as well - my favorite singles besides the strawberry fields and penny lane in the catalog. For this CD folks that are mad about a singles disk - move on. The Beatles did singles back with anthology and people bought them before their was RU-vid and Internet forums to bitch. I remember buying those when I was 12 on the day of release - it was such a big deal but not as big as these remasters.
The bird sound is a tape loop of Paul laughing but sped up. Paul himself has said that it reminds him of a pelican. Also, to me the 2009 *remaster* sounds quieter than the original. Does anyone else hear that.
Great reaction and review! 👍 I pretty much agree with your findings; though I do think the overall fidelity, and clarity has improved a little; cymbals sound a bit cleaner and sharper, and the top "s's" on vocals are cleaner - with leading to sibilance; except I've found with "She Said, She Said" which can get a little 'strident' at times - and that's on both LP and CD version. Overall though, I love this new mix; it seems to bring the power and weight of the mono mix back to the stereo version, which the original just couldn't manage, due to the lack of available recording tracks/technology in '66...! Now the new mono remaster - which I know you'll cover later - to me, sounds much cleaner and crisper than the original, and the 2014 mono boxset version; it puts that same 'sparkle' to the treble that I mentioned with the stereo remix.... these two LP's will be my new go-to records for future listening I think...!! 😊
The mono mix isn't a NEW mono mix, it's the same as the 1966 and 2014 ones. What changes is the MASTERING. During this process, the cutting engineer makes sure that the volume and balance of the record is just right, he makes sure that the record doesn't have groove distortion, sibilance or jumping
Sean Magee followed the exact same mastering notes for the 2022 mono as he did when he cut the lacquer for the 2014 edition. Some people say they can hear a slight difference between the two. The 2014 version was pressed at Optimal in Germany,where as,the 2022 was pressed at GZ Media,Lodenice,Czech Rebublic.
I grew up on the Capitol pressings of revolver including my own 1970 Canadian pressed Capitol version of Revolver which omitted Im Only Sleeping, And your Bird Can Sing. and Dr Roberts I heard these songs before but only on the FM radio for the most part, until I was pleasantly surprised when I heard them on my new Revolver box set. .
I’ve heard on other review videos that the biggest reason that so many early stereo recordings, including Revolver, had such a hard L/R pan is because the mixing consoles were limited to just three options on the pan switch. It was either all left, center, or all right. That’s why they not only didn’t but couldn’t balance part of a track with multiple instruments on it across both channels to achieve a balanced soundstage.
The Revolver album was a real turning point for The Beatles in 1966 cos it was an album that dawned the beginning of them proceeding into psychedelic sound, in fact they actually started psychedelic sounds in 1964 by introducing the feedback sound on the very start of "I Feel Fine", something that even Jimi Hendrix copied on HIS songs!, but "Revolver" gave us "Tomorrow Never Knows" which paved the way for "Strawberry Fields Forever" & their next album "Sgt.Pepper", I love the new remixes especially the very start of "Yellow Submarine" where the guitars & drums were heard but wasn't in the original '66 stereo mix plus "As we live a life of ease" bit was repeated in the new mix but wasn't in the original '66 stereo mix, also loved Ringo's drumming mixed up on "She Said She Said" just like in the original '66 mono mix & the trumpets 🎺 sounds heaps better on "Got To Get You Into My Life", great album, great remix, great band. God bless The Beatles.🎶🎸🥁🎺✌️❤️😊👍
I’m a huge fan of the remix, but I do agree there are some parts where the sound of certain parts get dulled - especially the cymbals on She Said She Said - and I think it’s due to the process of separation using AI it is hard. This is where the moon mix comes in
2:30 The equipment at EMI Recording Studios (now Abbey Road) in the 60s was far from the best of what was available at the time. Most studios in the states were using 8 track around this time. The Beatles didn't get their hands on an 8 track machine until halfway the white album sessions.
I go with the 2009.remaster...is my go to copy....it works good with my TV surround sound....my All time album is the White Album.... Revolver is good too.. .the 2009 remaster is the best
Additional thought as I watch this video a second time. Couldn't help but finally hear you say they rushed production on this box said as one of the LPs you received was warped. Made me think of the box that I got which was the all CD set. They never gave me a copy of the mono mix, but instead gave me an extra copy of the 2022 stereo remix. No doubt a results of rushing the order. If I hadn't already owned the 2009 mono box set, I would have been really pissed off. I didn't feel like bothering with having to do a exchange program via Amazon. Just like you didn't for the warped record.
This just makes me wish I had a random $500 to spend on the Mono and Stereo 2009 CD sets. I do want all of these releases but it would be nice to have a competent mix of all albums to compare Mono/Stereo. This mix is really great except for She Said, She Said. Paul sounds like he’s in the damn room for you, Eleanor Rigby is so alive.
In my opinion, apart from the last album(s), mono is the only way to go. I had read that the Beatles were not interested in stereo, and the mixes were done without them. The mono mixes just sound perfect, and that's coming from someone who had heard the old stereo mixes quite a lot. These extreme pannings of the available parts just don't sound good. I'll happily check out the new stereo mix, it sounds very interesting and modern. As for your video, thank you for keeping some "errors" like thinking for a couple seconds about the right term to say. You hardly get that anymore in videos these days, and it feels kind of unreal, like you're not listening to a normal person speaking normally, but more of a condensed version. Very nice video (although shame on you that you never noticed the panning jump in Eleanor Rigby. I rotated the panning knob in my head whenever I heard the song).
The one thing we have to take in consideration about the drums in these remixes is how they were recorded to begging with. In Revolver was the first time they had a difference engineer that continued in Pepper, some songs of the White Album and then Abbey Road (with a different desk). That just to begging with, all the other sounds are going to be different and ever changing from 66 on
I’m pretty sure that left-to-right panning on the opening line of Eleanor Rigby was a purposeful pan for creativity. I also noticed that Giles mixed the double tracked Paul vocals on Here There & Everywhere onto both the L+R channels to better match the Mono version whereas the original stereo mix had one vocal track on the L and the 2nd vocal on the R, which had a much better effect in my humble opinion. What Giles did to She Said is unforgivable. Other than that, I enjoyed the remix. Also, those seagull like sounds on Tomorrow Never Knows are actually recordings of Paul’s laughter sped-up.
Stereo was hardly 'new' in '66, though it is true enough that at the time it wasn't really of much interest to most rock fans. Most Beatles fans at the time experienced music in mono, on AM radio or on 7" singles, and the early LPs (mono or stereo) were most likely to be listened to on 'suitcase' style monophonic record players. It's also been noted many times that stereo mixes were something of an afterthought for most of the Beatles catalog, including 'Revolver'. For most of us growing up as these records were released, stereo sound was something most often experienced through a 'console' - as much a piece of furniture as anything (some even included a minibar, for the full bachelor pad/rat pack experience). Some of these actually sounded quite decent (my best friend's parents at the time had a Telefunken console stereo that sounded pretty sweet). Component systems existed of course, but prior to the '70s were mainly for serious music lovers/audiophiles, who gravitated more to classical music or jazz. By '68 good stereo mixes for rock records were pretty common, and you can hear the benefits of this rapid progression on some of the killer records that came out that year, like 'The Beatles', 'Bookends', 'Traffic', 'Notorious Byrd Brothers', 'Electric Ladyland', 'In Search of The Lost Chord', 'Beggars Banquet', 'Crown of Creation', etc.
Unfortunately, I really prefer the original and 2009 remaster. It somehow sounds less powerful, in your face, in the new remix. There are some exceptions however, for instance 'Taxman', Eleanor Rigby', 'For No One' and 'Dr. Robert'. Let downs: my favorite Revolver song: 'She said, she said', 'Good day sunshine', 'Yellow Submarine' and 'Tomorrow Never Knows'. I kind of have the same problems with the 2018 white album, but love Giles Martin's 2019 Abbey Road and 2021 Let It Be remix. It's kind of hit and miss for me, but that is alright. There's enough to really enjoy in these box sets, such as the rare tracks and demos, mono versions... Hopefully 'Rubber Soul' will be more pleasing to my ears.
I agree that Taxman and Elenore Rigby have been improved in this new mix. But I already have Revolver 1987 version and the 2009 version as well as the 2009 mono version, all on CD. So I don't think I will be getting this new one, well not just yet anyway. It's pretty good- certainly a slight improvement on at least half the tracks. The track she Said She Said was not mixed that great here, It's a pity. If I do get it the reason will probably be the alternate tracks on the bonus disc/s. ps, Something I am not too sure about - did Giles and Sam just get technology from Peter Jackson's team or were his team actually there helping G &S remix Revolver ?
Love the insight and back to back samples. Probably an off wish for a Rubber Soul deluxe box set, but I would be ecstatic if they included an up to date mix (or mono version) of the US Rubber Soul alongside outtakes and an updates UK mix. That’s still my favorite version despite Capitol’s duo-phonic processing.
I like everything about the new mix. Vocals are clearer. The instruments sound brighter. I thought that I would hate it, as I'm not really a fan of the past Giles Martin remixes. This one surprised me. It sounds like a new recording, as opposed to something from 56 years ago. I can't find any fault with it.
Regarding this, sounds clear for me that in a re mix process you can get more deeper changes than in a remaster process. But, IMO change the mix is like change the colours in a picture (changes the original artistical work).
Listened to this video in the car and without headphones the mix does sound a lot cleaner, though the bringing down of the vocals did lose me in a lot of cases (not all though)
i prefer the original im only sleeping to be honest. it felt more subdued and well, sleepy, in a good way that felt like it added to the song and i didnt love how they treated the backing vocals in it. pretty much agree with the rest of your thoughts though! with the sessions i especially loved hearing the evolution of got to get you into my life, something really magical about that evolution!
Even though now we have the withdrawn mix of TNK I’m still on the hunt for the XEX606-1 mono mix vinyl. Seem to be coming down a bit in price because of this possibly?
My version is from 2017 and IMHO it sounds great and is crystal clear. Of course the early British mix where vocals were on one side and music on the other were again IMHO horrid. Lastly the lower levels of the bass were in part due to the tendency for heavy bass laden tracks could cause skipping in vinyl records. This said the 2022 mix is at best a mixed bag. I hope they don't tamper with Rubber Soul. BTW my first 2017 purchase was returned because the record was severely warped!
I bumped into Eleanor Rigby the other day. I asked her what she thought of the new mix and she just shrugged her shoulders and stared off into the distance. She said it was all a very long time ago. Then she was gone, hurrying on her way back to nowhere. Me, I prefer the original Revolver. :0)
I have an original UK mono pressing of "Revolver" with the remix 11 of "Tomorrow Never Knows" and although there is some slight surface noise that you only hear between songs, I’ll stay with that. Also I really like both the 2012 stereo and 2014 mono mixes. So, I just got the CD deluxe set. At $200 I’ll pass. Hope all those who get the vinyl enjoy it.
as a kid i loved beatles music, but as i got older and really got into good audio quality, beatles music became unlistenable for me because of how harsh the high end was and how just poorly mixed their music was in general. these new remasters of their albums that have been released over the last few years have made their music enjoyable for me again.
Yep. I always assumed it was intentional tho. I mean, it's the Beatles, surely it was intentional. But I'm learning only recently that it was a mistake
You should have brought in the mono mix as a comparison. Have to remember that with the vocal, one of the main strives in my opinion was to have a more centered vocal like you would (of course) with mono.
It looks like Giles is trying to make these new remasters sound like the mono. He tries to bring back some Mono elements to the stereo remixes. An example is the additional guitar note at the beginning of Yellow Submarine, that was only previously present in the Mono mix is now in this Stereo 2022 remix. In Sgt Peppers, Pauls shouting at the end of Reprise is more audible in the 2017 Stereo mix just like the Mono. In the 2009 Stereo it’s buried. In The Beatles White album, he turned down Ringos “I got blisters…” at the end of Helter Skelter so that they’re barely audible since they were not present on the Mono mix. What’s weird though, is he doesn’t restore everything in the Mono mixes on these new Stereo remixes, Johns vocals with flanger effects from the Mono are not restored in the 2017 Sgt Peppers remix, nor are they present on the 2009 Sgt Peppers mix.
I like everything except that the drums on Yellow Submarine are on the side. They are a main character of the song and on the "1" 2015 remastered version had it already perfect in the middle.
Thanks for the video! Now I know what these new mixes sound like and I don't have to bother. Horrible, I just hate the remixes. Removing the hum in the beginning of "Taxman" just takes the cake. What were they thinking? I'll stick to my original stereo album from the seventies and the Mono CD and Vinyl box sets.
non centerpoint stereo is surrounded by myth. in short there are albums of !966 that had the vocals and instruments in the center, like Jefferson Airplane Takes off or Blonde on Blonde. Point is that the reasons engineers and producers might have done hard left and hard right stereo has to do with how people mostly to music at home and on speakers, not headphones or even on mobile devices .
My absolute favorite part of these mixes is hearing parts of the song (usually backing vocals, sometimes instruments) that I just never noticed in the original/2009 remaster. But as you say, Revolver's stereo mix isn't quite so terrible as I maybe imagine it is, and some of these seem worse off for it. I'm sure it's habit though, anyone who first heard the 2022 remix might find it to be by far the best one, just like I prefer the Tubular Bells 2003 re-recording that a lot of OG's consider a sin.
Stereo was NOT new -- there were stereo releases during the 1950s -- see Patti Page. But it was niche. George Martin wrote in his _All You Need is Ears_ that only about 12 per cent of homes in the UK had stereo record players. Mono was the market, the promotional medium, radio, was mono, so the releases were mono. Those who ignore mono don't know what they're missing.
