In the late 70's, I worked in the same office as George Martin. He was working on creating true stereo versions of the tracks destined for the Red and Blue collections. After 2 years of labor, he presented the remixes to the Beatles and was turned down. I still have a copy of those versions. I loved hanging out around him - what a truly impressive lovely gentleman without whom there would be no Beatles.
I am so jealous. He was such a hero to me. I would love to hear those mixes and wonder if Apple still has them in their tape archives? This is the first I have ever heard of stereo remixes of the compilation albums.
@@spinninground I wonder whatever happened to Ringo's mumbling at the beginning of I Feel Fine on the original vinyl red album, which disappeared when the CDs came out - and has never returned anywhere since.
I've watched countless reviews of the Beatles' Revolver Album/2022 deluxe released remixes. This was the only one where the analysis was straightforward and accurate, from my point of view, logically. I fully agree with all the comments made. Perhaps because he's a musician, Christopher had the ability to be so exact and assertive in his comments on each song. Congratulations!
Critiquing Beatle mixes? Right! Who cares? Critiquing another engineer’s work? The funniest and most hysterical comment,” I wish Apple would hirer me”. Ha! Critiquing the Beatles music 60 years after the fact is ludicrous. The average listener couldn’t give a crap! Ask yourself this question: An bad recording of a good song, or a great recording of a bad song? Hysterical!!!!!
IMO, Revólver was and probably still is one of the top 3 albums ever recorded and released by any band in the last 75 years. It really is the Beatles at the top of their game. Of course we must not forget producer George Martin and the various sound engineers of the time. It has not dated which is the sign of a great and original work.
Thank you! This presentation has been the most insightful song by song analysis of the 2022 Revolver remixes I've viewed and some interesting & informative comments on the 2017 remix for Sgt. Pepper, the 2018 remix of the White Album, the 2019 remix of Abbey Road & the 2021 remix of Let It Be.
Yeah man, great listening comparison exploration. Thank you, I ˋ m still in the process of digging deeper into this new remix, but until now, I share a lot of your points you mentioned!
I first heard them on Christmas Eve of 1963. I received Meet the Beatles and my first guitar from Santa. Saw them in Toronto three times. Sept. '64, Aug. '65 and Aug. '66, their final tour. Revolver was extraordinary. Whereas Rubber Soul seemed like folk rock, Revolver covered every base. Taxman was funky, followed by classical Eleanor Rigby, Lennon ballad, George goes Eastern, beautiful McCartney love song, children's " Octopus's Garden. So many styles, so inventive, so creative.
I took the 2022 remixes of For No One and She Said She Said and ran them through Demucs to get 4 isolated tracks and used those to rebalance the mixes much better. I also ran the original 1966 stereo mixes of Taxman, And Your Bird Can Sing and Dr Robert through Demucs to give me a fairly discrete drum track and used that to make center drum mixes and keep the original wide stereo effect vocals.
Great review mate. Great to have this incredible 3d mix. They were virtually in the room at times. But I'll probably go back to the old mono and stereo mixes for the real sound.
Thank you very much Chris! This is the best analysis video I've seen so far of the Beatles Revolver 2022 remix. I'm a guitar player who learned to play keyboards later on so I could get more gigs. One of the first things I noticed when listening to this new remix was on "She Said She Said", the Vox Continental keyboard not being loud enough in the mix. And also the lack of treble like you said. You're the first person I've seen to point this out. As for "For No One, I wanted the low notes on the harpsichord to be a little louder. Thank you again so much for this most excellent video Chris! 👍😊🎸🎹🎤
As much as I would laud Giles Martin's efforts to keep The Beatles' enterprises going, my own 2 yardsticks for comparison - "Tomorrow Never Knows" and "Rain" - ended up being disappointments. You were certainly kind in the vid, for the non-harsh coverage of the overpowering bass on "Tomorrow Never Knows", along with its diminished loops.
I agreed with most of your judgements. For me, the biggest loss was the acoustic guitar in I'm Only Sleeping. It's too low and soft in the new mix, IMO. Totally agree on For No One, that's an absolute hightlight. Then there are a couple of tracks where I actually prefer the 1999 Yellow Submarine Songtrack mixes: Love You To and Yellow Submarine.
As George Martin has explained in interviews, the original stereo mixes were made for the stereo systems of the day. These would normally have the speakers rather close together, so to achieve any audible stereo effect, the space between the instruments had to be rather extreme. On a modern system you can achieve the same effect by using a small home studio mixer instead of a preamp, playing the left and right tracks through separate channels, and setting the pan controls at, say, nine and three o'clock, respectively, or whatever you may find suitable. The mix that will make for is in my opinion way better than these new remixes and, furthermore, this is what the artists intended.
Thanks for your detailed analysis of Revolver! I'm curious if you have listened to the new remix of Paperback Writer on the Revolver Super Deluxe Edition. I've always loved this song which is something special because of the almost-out-of-control echo effects that were used. When I heard the new 2022 stereo mix of Paperback Writer, it started out great. The vocals and instruments were noticeably cleaner. But when it came to the vocal echo effect at about 47 seconds . . .my heart sank. It sounded like Giles replaced the echo that Paul and George Martin worked so hard to perfect with a conventional digital echo effect. And it faded out instead of stopping cold like the original. It's maddening. I do have enormous respect for Giles Martin but in this case, the echo effect was a dud. I'm surprised he got it past Paul McCartney.
I agree with most of your points. Revolver is still one of the best albums ever made by anyone. Along with Rubber Soul it is the most “Beatle-y” record, and the songwriting is just mind blowing. Good comparison to the original mix, though I think all of the new mixes are better to my ears. I do also love the original mono version, but I think I prefer the new stereo - it just feels more natural for some reason. Anyway, thanks for taking the time to deconstruct, it’s appreciated.
Hi Christopher, I put this comment on your box opening by mistake. I meant to post it hear as my comments are a better fit here... as someone who grew up with the Beatles in real time from 1962/63 - I have never been satisfied with any of the CDs that have been issued or the remixes. It is the same with Revolver. I have listened to these albums on vinyl so many times until the were completely worn out - but i know them by heart, very intricately and intimately. I think for somebody such as yourself who grew up in another period when music recording and production had become more mature technically - that you would like this Revolver. But i tell you what. These days i listen to music on my Maggies. These speakers give such depth, horizontal expanse in their sound stage with such clarity that you would believe they aren't even there. With these speakers when i listen to revolver or any others I notice my speakers and go oh, this sound is coming from that speaker. That is not what i like. However, i put on a 1966 vinyl and the music is there - it presents a beautiful sound stage. And Eleanor Rigby - well the strings are exactly where they are supposed to be. One of these days, i will get a turn table and hunt down some original vinyl in mint condition so that i can listen once again to the music that i love. One other thing, Sgt. Pepper - I hated every CD mix of it that was produced and then came the latest remix. Yes, it is a bit different but it was SO darn close to the impact of the original album in my somatic memory that i was overjoyed to once again hear the music i love so much. Thanks for your review. Everyone is different in their taste for music. Glad that you are a champion of celebrating good music. Cheers! Oh yes, take a listen to hear for 1966 Revolver Vinyl ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-x_JOOtOBYKA.html
Thanks John for your thoughts and sharing them with me! I agree that I have not been 100% happy with the CD reissues but I have to say this stereo mix is worth listening to and of course, on record and not CD. The new stereo mix of Eleanor Rigby is hands down my favourite - tonally and sonically. If you haven't heard it I recommend listening to it. However, I will say again that the original UK mono LP is still my favourite pressing - and the new mono reissue in the vinyl boxed set is as wonderful (if not better in some ways!). :)
I agree but I also wonder how much A/B-ing that Paul and Ringo actually do. If they really listened to "She Said She Said" I believe they would have altered the guitar sounds. No surprise that the drums and bass are the most "affected" instruments in the remix.
@@ChristopherClause Agree, and the main reason, in my view, is that the snare drum is so much louder. The original is awash with guitars, you bareley hear the snare and you don't even need it to propel the song. The remix is much more mechanical due to that timekeeping snare.
Hey dear Beatle fan (just like me) Thank you for your definition of these versions on that famous record by the Beatles. I'm really looking forward to listen to them and will keep in mind what you had to say.
Bought the cd box myself and it was the first time I'd heard the album in mono. Absolutely mind-blowing! As for the remix, I'd pretty much agree with your review. The only real negative for me is that I'm struggling to get over that woolly, overpowering bass in I'm Only Sleeping. Great video mate 👍
Thanks so much, Bon zo! Woolly is the best term to use for the bass!!! I agree. Again, I have been very critical of Giles' work in the past and I have to say that he did a great job. Enjoy the mono. I remember the first time I heard the mono mix and it was life changing :)
Excellent, thorough, concise and interesting video! Kudos to such an articulate fashion of reviewing the new Revolver. As of now I was hesitant about making the purchase because I was so used to the original mix and like you I didn’t care for the Sgt Peppers and Abby Road remixes and I did in fact very much enough The new White Album and Let It Be boxset. So you intrigued me with your opening on that. Look forward to seeing more of your videos! 👍😎
Thanks for your comparison. One of the things they kept I always pictured in my head. I don't know if it is real or not, but after Paul sings 'She feels Good' I think that John says something that Paul finds funny. When he sings 'She knows she's looking fine' I can see him smiling and almost laughing in my mind.
What a lovely thought :) Their relationship was so special, I would NOT be surprised if that was the case. Now this part of the song will always make ME smile now. Thank you!!
You’re right - and, I don’t remember which redo of the CD it was, but you can clearly hear John say “She looks good” after Paul’s line, and it does sound like Paul reacts to John’s remark.
Totally agree with you on the previous Giles remixes. I was thrilled others bought them, but not me. Comparing the original 66 stereo remix to the 2022 may not be the best mastering version. Harry Moss remastered the stereo version in the late 70's. They were in the BC13 Blue Box set. Much better dynamics. Give that a try. I too was perplexed on the instrument breakdown dynamics for each song. It was confusing sonically. But I too loved it as a new master. You'll find this mono version is less loud, yet more dynamic than the 2014 Mono remastered version. Thanks for the great analysis on each song. It was an unique comparison and I appreciated the time you took to complete the analysis. Keep it up!
AND Harry Moss was the BEST. When you can find the letters "HM" in the dead wax of later pressings he cut, you know it is going to sound good. I have a two box -2/-2 stereo of Revolver that I love.
Hi Christopher I really liked your opinion of this awesome LP. So much I agreed with you that I subscribed to your channel, so Don't Let Me Down. Keep on Rockin' & Thanks
Just finished watching your review in its entirety. Very nicely done! I agree with all of your points. To me, the strings in Eleanor Rigby sound much like the ones used in the Yellow Submarine Songtrack. In fact, the entire cut sounds like the one from the Songtrack, with maybe a few subtle level differences. Also, I am definitely with you on the 24 bit vs 16 bit. I can hear a HUGE difference as well. Sixteen bit sounds harsh to me, and always has with few exceptions (Dire Straits - Brothers in Arms is one of those). When I record something, whether from vinyl or my original songs (using Harrison Mixbus), I always capture at 24/96 and only occasionally re-sample to 48k but always keep them in 24bit. And no, I don't ever bother to burn anything to CDs. It's a dead format to me.
well done. i was going to bed and saw the title then i watched this all the way through haha. i must say I am very impressed with the 2022. bass and drums particularly are standouts. i personally like I'm Only Sleeping on the 22. I haven't searched your channel yet for more Beatles but i will cos I subbed 😀
Great overview! There’s a reason the guitar track in the “Love You To” remix isn’t louder … it often goes out of time (and not in a good way) and if it were louder it would sound like crap. Personally, I think it should’ve been omitted entirely but I suppose that wouldn’t work for many fans although it’d certainly clean up the track. Same goes for other various percussion instruments on Revolver tunes that remain low in the remix, where it almost seems the player is distracted, and the shaker or tambourine a bit random. Thus, Giles wisely kept these elements lower.
Chris, what a great analysis!!!! The best i've heard so far!! Firstly, i need to point out that i am a remix engineer for a small record company, & i have scrutinized this remix SO carefully. Overall, while better than the 1966 stereo, it still falls short of the mark compared to the mono. Like you, the one track i picked that was absolutely stunning was "For No One". An A+++ here!! And the overall clarity deserves a tick too. But there are some real disappointments (Taxman, She Said She Said, And your Bird Can Sing). My gripe with "Taxman": the song is a rocker & George's rhythm guitar should have had ADT applied (instead of the vocals), & panned L & R to give the song the power of the mono. "She Said She Said" is a mess with parts of the guitar tracks seemingly missing. "And Your Bird Can Sing" was the biggest disappointment for me. Here is a case of pure laziness on the part of the remix engineers!! A mix has been done within the last year separating George & Paul's dual lead guitar parts - which in my opinion really MAKE this song. George's higher part panned L, Paul's lower part panned right. This has been done so cleanly - it needs to be heard. I have also done a mix of "Rain" with the 2 guitar tracks panned L & R. There have been many source separation programs introduced over the last 5 or 6 years - most are not that great - but there's a couple that are at least as good if not better than what Giles team used. In short, i'll use the 2022 Revolver remix & substitute the 3 mixes i have for the 3 songs mentioned.
Thanks so much for the amazing review! If you could direct me to some good source separating programs that would be awesome. Wish I could hear your results!!! :)
maybe You will like this, I sometimes send it to Beatles fans, reviewers : AGREE ! Why nobody asks Steven Wilson to do it ? There are good remixes of a lot of albums - and I like the idea of remixing from original first generation tapes without too much other unnecessary job / corrections - like Steven Wilson does it. Why they do not speak to Mark Lewisohn ? - or do they ? How easy can sb may make sb else a goof - too many reviewers I'm afraid repeat the narration from the production team. Examples : REVOLVER - is it really true that they need to use computer programs to do a good job to make better separation of instruments, voices - demixing for remixing - the job to be done is to go through the tape boxes and find original sessions, first generation tapes and takes that were used for "bouncing" to another tape with reduction of tracks to mono or stereo (this way engeneers were able to use two or more tracks on a new tape) - so there are kind of two masters - one original attempt, master take, and the tape onto which it was copied - I guess we really do not need super modern sound ! - what we need is the best possible sound from first generation tapes, even if some instruments, voices are on one track - who cares ? However - I see that the idea of putting the evolution of songs somehow is now applied on this new box coming - I wrote about it in my comments before. Demixing squeezed sounds from one track DOES NOT bring us to first generation tapes / sounds ! Also - there is no feeling of a band together now in my opinion. Where are the clear drums now from Got To Get You Into My Life ? The WHITE ALBUM 50th Anniversary is wrong in many places, maybe apart from the two original discs remixed - only when I consider the much better sound, natural, but also with mixed emotions - Birthday remix with voices now compressed to the centre - the fun was in the voices on the sides, in the speakers. It is cheating fans and drawing money from our pockets - there should be an additional disc (nr3) including final remixex/mixes of Hey Jude, Inner Light, Not Guilty, What's the New Mary Jane, Lady Madonna, Revolution (single ver), full fast version of Helter Skelter leading to Ringo's shouting "I have blisters on my fingers," also could probably include You Know My Name since recording sessions span 1967 - 69, also Hey Bulldog (recorded with Lady Madonna) - like on Sgt. Pepper's 50th - there are final mixes of Strawberry Fields and Penny Lane, the session discs could include two/three versions of Sexy Sadie, Not Guilty, and others, showing evolution of the songs, and not the same as on the Anthology series (including the same versions as on Anthology is really not fair), also are we interested in instrumental versions ? - NOT in J. Lennon's voice ? - The next time they return to White Album will be in around 20 years - me dead. Sgt. PEPPER 2017 remix - for me it's a crime to have sped up She's Leaving Home on, and also - the whole colour and magic is gone with the band and other instruments squeezed to the centre now ("stereo based on mono" as they say - lunatics at the consoles !?). ABBEY ROAD - sounds great BUT why Ringo has soooo long hands now ? - my speakers are circa 2.5 metres apart, so I hear drums on the right in Come Together, and suddenly the snare is now in the centre - again - insanity. Why do bootlegers have access to better stuff ? - You Never Give Me Your Money (very long version with improvisation, poor quality, but interesting (probably take 30)). Why have we lost chance to have better quality "Because" vocals only version. Why there aren't masters without strings like f.e. "Something" - would be really interesting. TAKE THIS GUY GILES MARTIN AWAY FROM IT ! - the only professional at remixing classic albums who I really respect is Steven Wilson these days - he has done GentleGiant, JethroTull, Yes, KingCrimson, Marillion - well done, good job. Besides - the positive atmosphere during White Album (?) - Ringo Starr and Geoff Emerick left : "lost interest in the White Album because they were really arguing amongst themselves and swearing at each other" - from G Emerick book. Probably we need apologies from Universal/Apple/GilesM/and .. the Beatles ?! Tom
The problem with most of the Beatles' recordings pre-Revolver is that all of the reduction mixes were done on the same tape (save for Eleanor Rigby, etc). We will NEVER get first generation sound and the demixing is as close as we are going to get sadly. Also, remember that Giles Martin's inspiration for remixing Pepper was to recreate some of the elements of the original mono mix, and the mono mix of She's Leaving Home was sped up. I love Steven Wilson's remixes (especially with XTC) and I am also happy to see that Giles, Sam and team are growing and learning with regards to remixing this catalogue.
In 1965 right and left were interchanged with front and back. My 1969 Oldsmobile had an FM stereo, rare for the time. There was one speaker in the dash in front middle and one in the rear in the middle. The drums and bass were intended to be the the rear speaker and often the vocal was in the front or both. The front would be guitar, tambourine, etc. This has to be considered with the old mixes. Now making a stereo mix that sounds like the mono mix begs the question why even make one? Also keep in mind little effort was put into these early stereo mixes they were made as an aside and never considered to be more than a novelty to many people at the time.
One should add that not only the clarity and spaceousness of the remix are great but they really managed to diminish a lot of the interfering close mic-ed swishy limited cymbals. Great analysis also. Agreed on most points in this and other albums.
Such a great analysis. I pretty much agree with all of your opinions here, and I hope Giles works his way backwards through the catalog. Rubber Soul with the remix treatment would sound phenomenal.
Super cool. I, myself, was born 28 days AFTER, "Sgt. Pepper's" was released. June 29, 1967. Always felt like "Pepper"...was my birth gift as well. Awesome channel. You get a "like", and a new subscriber.
18:20 - You are so RIGHT about She Said She Said, and Meat City, too, for that matter. I hated both remixes. For "She Said", the guitar flourishes didn't have "any place to land - no support", if you will and just sounded naked and even awkward. It was much better in mono and I'll have to check the stereo 09 remaster to get what you're saying there. It's been a while, I can't recall off the bat. Meat City was destroyed in the 2000 remix. John wouldn't have been so happy to be around to hear that. Yoko got smart later on and wiped all that out for 2010. Happy 70th birthday to John, I guess. 😄
Agreed indeed!!! I mean, I LOVE the sonics of the remixed Mind Games (as I never loved the originak mix - the first CD issue has no noise all over it and sounds yucky) BUT the balances in the original are what I want. I would be TOTALLY ok if Sean Lennon supervises a remix of Mind Games this year - I loved his work on the Gimme Some Truth set. Great sounds.
I think you did a good job on the Revolver shootout. There were some new perspectives you mentioned that I never thought of before. I thought overall the new mix was pretty good in most areas. Some areas that were not so good. A few you mentioned as well. The one track I had a problem on the new 2022 mix was with, She Said, She Said. I agree with you in that It lacked rawness as well as edginess or punch that the original mono did. Another thing I did not like was that the descending guitar line right after John says, "When I was a boy" is barely there. Not like the mono mix or even 2009 mix. You can hear it very clear on the mono. To me that is an integral part of the song and now it's buried. Kinda disappointed. I thought Tomorrow Never Knows lacked edge and I agree with you on that the effects needed to be louder. Though, I enjoy the stereo field in the new mix the older mixes I feel to be better and more dynamic. Also, you mentioned how they took out the sound of John's guitar switching pickups on I Want You, She's So Heavy. They did something similar on the new remix with Taxman. The opening "hum" sound was taken out. I think these things are part of the song and shouldn't be removed. I'd give the new Revolver remix an overall score of 8 of 10.
Thanks so much! I did miss mentioning the hum, which actually didn't bother me because as a guitar player we are always looking for ways to reduce hum in electric guitar recordings. It definitely was there and like George's cough, needs to be there. :)
I'm so glad they corrected the beginning of the first verse of "Eleanor Rigby." That oops moment on the first 1966 stereo mix was so unprofessional, and should have been redone. On "Yellow Submarine," they included "a life of ease," in the echo. Yay!
Well done. Funny I was listening to the 1987 Cd in the car today. It always sounded good to me. But my first introduction to this album was a 1966 Canadian Mono. I love all versions.
I still remember the first time I heard the Canadian mono - it was at the home of one of my beloved teachers, and when the fade out of Got to Get You Into My Life hit and Paul was singing different words, I was captivated. Then I searched high and low for a UK mono copy. Thanks Kevin!
@@spinninground I've always preferred the mono mix of Got to Get You Into My Life because Paul sounded too much like Micky Dolenz at the end, "every SINGLE day....." I like the song, but just never liked that take.
Great comparison. As a musician & mixer, I noticed most everything you did. The effects on Yellow Sub & Tomorrow was a total fail. Same thing appeared on many spots of The White Album as well with sounds & effects.
It is interesting how all keep comparing the new stereo mix vs the original where I compare it more to the mono, particularly Only Sleeping... Not sure why I perceive it is more inspired by the mono in where it also keeps being a winner. But great shootout! thanks for the video
Thanks so much, Mariano! I do believe that Giles always has the mono of most of the early records in mind when he remixes. I think it was a good decision on his part to do so.
I downloaded the whole thing on I tunes and I'm really glad the forbidden RM!! of Tomorrow Never Knows was included in all its legitimate issue glory. It sounds fantastic. I was hoping that when the mono LPs and CDs came out back then that the RM11 mix would be included, but I was disappointed. I can't believe it's nearly been a month since this was released. I've only heard the entire thing a couple of times. This needs more listening before the NEXT album comes out 😆. I feel like an American 60s fan in that Capitol just keeps putting out stuff left and right and I have to have a breather, "wait a minute". This was an awesome video. Subscribed.
I agree re: RM11...it would have been so cool to have the mono pressing in the set have it included (would have meant re-editing the tape and I'm not sure how Apple feels about doing that). I love that mix! Thanks again for your encouraging comments :)
@@spinninground You're welcome. About RM11, I'm wondering if they actually kept the master intact, along with the master tapes, or tracks, whatever they call them, and just made another master with another take of Tomorrow Never Knows. I have no idea if I said any of this correctly, but I think they probably have the first version still intact, that it's just a matter of swapping out.
I'm a little late to this game, I got the 2022 Revolver Super Deluxe CDs for Christmas, and between holiday obligations and a short vacation, I finally got a chance to evalute it on my own. I have to agree with most posters here that this is the finest comparison video I've seen; I saved this link so I could return to it later. I pretty much concur on all of your evaluations, the Super Deluxe release is a masterful job by Giles, and we're all indebted to him. Just to do a thorough comparison, I compared all of the versions that I own: the original 1966 vinyl, the 1987 CD issue, the 2009 Remastered CD Box set, and this new one. In almost every case, the 2022 version stands out for clarity, crispness of percussion, great vocal mix, and of course the guitar mixes. One curiosity I found is that the first CD release back in 1987 had significantly different stereo mixes, much more of the hard right/hard left (which seems to have fallen out of favor these days). But, being that I was 17 in 1966 and grew up with that kind of stereo mix, I kind of miss it. For example, on the 1987 CD, the very beginning of Taxman has the count-in on the left and the guitar noodling on the right, and it sounds great! I wish Giles had listened to the 1987 CD and used that beginning part. But in general, the 1987 CD is by far the worst-sounding of all the versions. It has a low hum and sounds like I'm listening with cotton in my ears. The 2009 Stereo Box set is much crisper-sounding, but sadly does not contain the stereo parts that the 1987 CD does. Anyway, still love the vinyl version and Giles really just made it better. My pick for Giles' best track is Eleanor Rigby, the strings are absolutely fabulous.
I'm born in 1953 so The Beatles were my whole youth, remembering waiting with my ears scotched to the radio when a new Beatles album was due te be released. These new remixes, how technically more perfect, are not what I remember and therefor I hate them. It's all about memories. Always immediately I hear if it is the original or a remix. With remixes for me it always sounds as if it is a cover band playing. For me never touch the original!
Nothing can ever touch the originals. I am a generation or two removed from you so my experience was growing up with their solo albums in the 70s. The remixes are just another way of looking at the same material. Shame that you hate them but I also understand why you do.
There's something about mono that makes me feel satisfied to just hear that one, though I often have a desire for stereo, I think I am just fine with mono. No regrets having put it on that way. I do believe the Beatles themselves preferred mono for their songs.
Thanks a lot. Have both 2009 and 2022 on my mobile. (I don't pretend to enter into your level of analytics! ) Compare instantaneously. 2022 weightier, bassier and more percussive. Conclusion: rotound winner. Nb. 2:17 photo of Paul with Aftermath, checking out the local contenders...😊
And at 27:59 you admit that your go to is still the UK mono vinyl. Good man! Born in 1947 and a UK resident I heard all The Beatles records when first released. Apart from Abbey Road ALL records are best in mono. This comment applies to several UK artists of the period e.g. Kinks, Who, Stones. It wasn't until late 1968 that stereo versions were worth considering.
Thanks Mary and yes you are right, but the outtakes from this new set showed that John had the verse ideas musically as well as the "In the town..." part. Paul had the idea for a yellow submarine and it was a true collaboration between the two of them. So glad you enjoyed the analysis! :)
I've not heard any of Giles Martin's efforts, but a few general thoughts. It was once observed about when art restoration is done that piece starts to become the restorer's. Ergo the the recording is now The Beatles with Giles Martin. None of this was done with the consent of John Lennon and George Harrison who may have great disagreement with these results. Also have the impression neither Paul McCartney or Ringo Starr actually participated in this. I have the suspicion that all this really is for the purpose of giving some new novelty to the recording to launch a new marketing campaign and keep the Beatle name in the news. I've not heard the original 1966 mono mix in decades and wish that was much more readily available, I believe that to be the most authentic release and conforms to their original vision.
In my opinion, the creation that the Beatles made as a band is a treasure that we should respect as it was created. All the magic it contains is not only due to the creative genius of the Beatles and the invaluable collaboration of George Martin, but also to the original sound of each track, each noise, each harmonic or detuning, is part of the soundscape created by them. . It is a historical testimony and part of the reality of those times, they should leave it as it was done and not spoil it with so much manipulation. Or it will end up being an "Ecce Hommo" musical.
The "ecce homo" comment might be taking this to an extreme...in light of what Pontius Pilate was really referring to. These are just recordings in the end. If Lennon was alive, I have NO doubt he would have wanted these remixes more than anyone. However nothing will replace the original mixes for me.
@@spinninground I was referring to "Ecco Hommo de Borja" that was unsuccessfully restored in Spain. And we will never know if Lennon would agree, and that is the saddest thing... we have neither permission nor his opinion.
@@altamiranoalcantara2874 That makes so much more sense - thank you for clarifying! We certainly do not know for sure, but we know he was never happy with the recordings (re: his discussion with George Martin in the 70s). If he had lived, maybe they would have re-recorded the catalogue a la Taylor Swift? lol. Saddest thing indeed. His loss is still overwhelming...
3:00 - Mr Kite remix - I was disappointed by the instrumental sections, especially the second one, but I loved how it would up and faded out with all that reverb. It was great.
I am a Beatles fan, since the 1960s, so my preference is mainly (usually on the original UK stereo vinyl releases) - although a number of songs I believe sound better in the mono versions - but I usually tend to favor the original stereo versions - for the most part. The 2014 Vinyl Mono Box Collection produced some amazing-sounding tracks, such as I Want To Hold Your Hand, Slow Down, I Call Your Name, Please Mr Postman, She Loves You, and a number of other great sounding tracks. Other than these, the original UK vinyl stereo mixes are generally the best sounding. If you look at the Beatles catalog as an art form, the modern mixes are basically (generally) a sabotage of the original artwork and I agree with Geoff Emerick who once said that messing around with Sgt. Pepper was "sacrilege". I totally agree with this. Compared to the originals, I do not like any of the modern experiments - with very few exceptions. I like the sound of the #1s video release - because you get to see the video as well. I do not like the 2009 remasters. They do not compare to the original UK vinyl releases - not even close. The German vinyl Magical Mystery tour, from the 1970s is the best-sounding for that album. The best-sounding Let it Be is the 2014 UK release of Let It Be Naked (on vinyl). The Beatles on original Vinyl is best way to listen to the Beatles - if you want the original "artwork" - this is the best way. The modern mixes are a novelty and are done to keep the Beatles compatible with the modern digital age - but I have transferred the original vinyl releases to digital and this is the best way to listen to the Beatles - period. Contact me if you want a copy of my 'Beatles On vinyl collection'. Perhaps you can help me share it with the public, without violating any infringements. My email address is found at my RU-vid Channel - the Beatles On Vinyl.
Good job, interesting video. Big fan since Ed Sullivan shows, but saw them on Jack Parr before that. Saw them live with all the screaming. After that and even then they sounded brilliant. No amount of tweaking could elevate my love of their music.
It’s great to have another version. The AI software can isolate each instrument so new placement setup can be achieved. What’s not to like, you still have the other mixes. I think PM is very involved in the remix and the new mix wasn’t something that could have been available back in 1960’s. Everyone has moved on a lot from mid 1960’s when even having a stereo record player was a rarity.
Sorry but not EVERYONE has moved on, as a lot of us prefer the original mix. I agree 100% with the sentiment that there is no harm in having a new mix. However there's only no harm if the original mixes are still available. Also having a stereo record player wasn't a "rarity" as you and others describe it in the mid 60s.
The kick drum and backing vocals at the end of Yellow Submarine on the 2022 remix (after the final verse) sound too quiet, I love how it gets really loud on the original. Still, it's better than the 2015 mix on 1+ where they almost completely removed that until the fade out!
I did enjoy both the remixes for SPLHCB and White album, the came to life, no need for the remixing for Abbey Road and Let It Be. Revolver is subpar but good enough, I prefer the mono mix
Fantastic video, information and production! I learned a lot (and I've been a Beatles fan for longer than you!) Bear in mind that if you are American, your time there would have been different to our time here - by maybe almost half a day! So Let It Be that your WERE born on the same day as Revolver was released. (They Say It's Your Birthday ....song! If not, it WAS Yesterday!)
Wonderfully thoughtful and insightful analysis of the remix. You've provided even more reasons to listen anew to the recordings. But, I'd be curious to know what you (Spinning Round) thinks of the new technology applied via Peter Jackson's team? I read that they used AI to identify instruments that were forever blended together in the mono mix and, up to now, it was impossible to extract as individual tracks to even attempt a new stereo mix. This seems especially remarkable, right?
Yes for me I am blown away that we can separate instruments from a single track of multiple instruments. I think it is amazing and can't wait to hear what is done with the earlier material (especially Love Me Do!). Still nothing will compare to those original mixes in my mind but I love the options and flavours. Thank you for your kind words about the video :)
Regarding the toggle switch comment, I agree with you. Certain decisions by the remixers I don't like. When I first listened, on my original record, to " Norwegian Wood, I clearly heard John cough off-mike. In future mixes it was gone. That bothered me!
Overall Giles has done a great job on this album and it obviously puts some pressure on him now as all their earlier catalogue could now be remixed for modern ears. The fans will surely demand more. The naivety of those early stereo mixes has a certain charm and familiarity to them, but that hard panning has to be said was always pretty clumsy and not what they would have done had more studio tracks been available to them at the time. The grouping of instruments on any particular multi- track was not an issue when all they were really concerned about was the final balance in the mono mixes and how it would sound on the average mono radio or mono LP player. Stereo being very much a niche market, and maybe even a passing trend, during the majority of the band's decade together. For me I have a massive new appreciation of Ringo's contribution now that his drums are not, quite literally, side lined but are now centre stage where they always should have been. My own A/B comparison with the remastered versions followed your appraisal pretty much exactly. For me, on 'Eleanor Rigby' Giles fixed a little bug bare I have had since I first heard the original. There's a little mixing glitch at the 14 second mark, just as Paul comes in singing on the right channel in the first verse, there is also a remnant of vocal which shouldn't be there, it's on the left where Paul just sings 'Elea...' and then it's muted or cut without even fully finishing the first name. This seems like a very clumsy edit, which I'm so glad was addressed in the new mix and has been deleted, as once noticed you can't unhear it and it has always bugged me in what is otherwise a perfect, beautiful song. Thank you Giles.
I've enjoyed almost all of the remixes we've gotten so far, though I don't know what Giles was thinking with the 2015 remix of the single version of "Get Back".
Thank you so much! From your mouth to God's ears and then to Apple! lol. I would love to be consulted!!! I suspect that they MIGHT go all the way back to Please Please Me because we are entering the 60th anniversary...and With the Beatles too. :)
The one problem I have had is you didn’t explain until the very end you were listened to CDs ,and not VINYL . The vinyl blows everything away. I hope to read your analogue review.
No need to worry. The records are cut from 24 bit files and sound way better than the CDs. However, the mixing decisions will be the same - sonically the LP version is the way to go.
I think Revolver was the culmination of everything they had learned in the previous 4 years. After Revolver there was a gradual move away from invention. That’s not to say that I don’t love all that came after Revolver, I do…..but it’s just a personal observation.
That 1:37 correction on "Here, There and Everywhere" takes 1 beat to fix, i.e., the first beat the sound still drops, but is fixed on beat 2 and going forward. Weird. Great review!!
5:02 I REALLY thought I was the only person on the Planet that missed that pick-up switch click. You're the first person I've heard mention it and how its removal detracts from the track. I pointed this out to a guitar player friend of mine, and he gave me that kind of "you're just a keyboard player" look, as I played him the track...LOL
@@spinninground I was filled with incredulity when I discovered that such a unique artifact had been removed...it would be akin to "colour balancing" The Mona Lisa...or using autotune on their vocals (Fil from "Wings of Pegasus" assures me they haven't). In regards to Giles Martin, I was pretty impressed with what he and hid dad did with Love (Cirque du Soleil), I think Giles gave it that "new" aesthetic mixed with dad's more traditional approach. I AM a Tragic LOL
Thank YOU... I have no intent to start a channel, so I thank you sincerely for not only being simpatico with what I have been saying about these (almost entirely) unnecessary new mixes, but for pointing out that messing with Abbey Road was a truly sad decision. AT LEAST for that nearly perfect recorded masterpiece, why did the moguls not admit that any rearranging of the soundscape of that album would automatically change the relationship of all the elements? Often, the vocals are no longer as impactful, the melody is stifled by the beat, and overall, the "fairy dust" or magic of the original mix was vacuumed up and discarded in a very cavalier way. Is it any surprise that the most obviously louder and more dominant elements of the album (remixed version) are bass and drums? lastly, thank you for mentioning the new mix of Yellow Submarine as a failure. Part of the genius of George Martin was is expert ability to record and mix multi track elements in such a way as to fool the brain to believing the whole of the song actually was recorded spontaneously, while all were sitting around a campfire in singalong fashion! The worst example of ruining that magical "G.Martin effect" was on the "Songtrack" compilation, but the new Revolver mix is also pretty dire.
Tomorrow Never Knows - It's a shame they didn't make RM 11 the new mix on the album as the sound effects were more in your face and the piano had a longer fade out at the end. The stereo remix version sounds all right, all well and good - as I've always liked the beep in "when love is all and love is everyone", but I am glad RM 11 was included in the outtakes - it sounds better than on the bootlegs and I didn't have to pay between 500 and 1,000 for an original pressing of Revolver with that RM 11 version on it. .
Agreed! I am so happy to have it on record where it is not at the END of the album, avoiding inner groove distortion. I would still love a repress of the album WITH RM11 at the end - maybe a cool Record Store Day release?
@@spinninground If that happens, I'll reserve my place in line at the record shop now. 😆 That is a great idea, though, about sticking RM 11 where it used to be and where it's always belonged.
@@spinninground I was being facetious. I find these box sets of the individual albums offer less and less content even as price-tags become greater and greater.
@@lpquagmire3621 Agreed. Thought I was missing something but then found it was my sense of humour that was gone lol. The increasing price is troublesome.
@@ChristopherClause PEPPER pretty much had everything befitting an album of such stature, THE WHITE ALBUM a little less so but still an impressive set. ABBEY ROAD is where things really started getting chintzy; the book is beautiful but there's no excuse for a documentary not having been included chronicling the making of an album of such stature. LET IT BE was rushed out seemingly to cash-in on the hype surrounding Disney's GET BACK, and the opportunity to do something really special (a restored blu-ray of the long-unavailable movie, the inclusion of the GET BACK book that accompanied original pressings of the LET IT BE album) was wholly missed. A fudged master of the original Glyn John's GET BACK lp in North American sets only added to the failings of the uber-expensive box. Apple could and SHOULD have made amends by sending out the correct master to purchasers of the North American set, but instead fans were left to spend mucho dinero to purchase a Japanese version of the set if they wanted the proper version. Then came the REVOLVER set, and fans justifiably had every right to expect something special now that many regard it as the pinnacle of 20th century pop. Apple needn't have bothered; again, we get a nice book (which easily could have been released as a stand-alone "coffee table" book), no video content -- despite two elaborate promo videos having been created to help sell the set! -- and a couple all-too-brief discs of demos and alternate takes. Mighty meager offerings for a $200 collector's item.
In the 60s virtually all "pop" music was mono, classical was always stereo. Pop was listened to on mono systems like the AM car radio, a transistor radio with one crappy ear piece, a record console that sat on the floor which if it was "stereo" it might as well been mono. So stereo for pop was not an emphasis. It became more popular in the later 60s, then with the advent of FM radio and "underground" radio of the very late 60s/early 70s, stereo boomed and mono was left in the dust. FM radio DJs were clamoring for killer stereo records since it sounded so good on the FM signal. I was in 3rd grade when "I Wanna Hold Your Hand" hit, I was there for the entire Beatles ride, saw the whole thing unfold, it was one of the greatest experiences of my life.
That would have been a great idea - seeing that the video was already 30 minutes in length I thought it would be ideal to keep the focus to just those two records. In fact, some of the mixes on YSS I might have considered better than the 2022 remix. Maybe I should do this as a follow up video? Thanks, GBOAC!
2022 mix of 'Good Day Sunshine'. Is it just me? Or is there a disturbing noise on the right channel at 1:58 between 'good' and 'day' when the instruments stop? In the 2009 mix you hardly hear that but in the 2022 mix it's (too) obvious.
I am going to have to listen to it again! If I want to hear the White Album I listen to my (mostly) tube cut stereo OR the UK mono - I don't pull the remix off the shelf very much.
Agree with Victor. Brilliant analysis. Thank you for all your insights into an album that changed my life. Always wanted to hear your kind of musicological analysis of songs I love. Have you considered Steely Dan?
Thanks so much, Eric! I don't want to disappoint you but I am not a big Steely Dan fan. I DO however love XTC and I am hoping to do a video on one of their quintessential albums very soon :)
Had to like and subscribe, although I don't agree with the recap of the previous remixes. I strongly believe that Sgt. Pepper benefited the most from the remix, in spite of the compression. The soundstage they achieved is phenomenal. Still, it was a pleasure to listen to this comparison.
Thank you, lucaas1307. I DO have to agree with you that the soundstage decisions on the Pepper remix WERE fabulous and are the element I like most about that set. I just can't get past the compression which is like adding ketchup to ice cream lol. SO great that we can have a difference of opinion and yet you would like to see more from me re: videos. Thank you so much for subscribing!
@@spinninground I think the compression brought it closer to the punch that the mono Sgt. Peppers had. I do realise it may sound artificial (and I generally prefer less compressed sound), but in this case it didn't bother me. What blew me away was the separation and (as already mentioned) the sound stage. For instance when I listen to the back vox on With a Little Help, I can clearly distinguish each of them. I can literally see their lips and hear their distinct voices, if you know what I mean. No previous version had that. I will definitely be following your videos in the future! Oh, BTW, the new Revolver mix is superb! I would love to hear the mono as well, but I am not paying for the entire box set just for that. I heard the digital but I am dying to hear how it was cut.
@@lucaas1307 As I understand it, the mono album in the vinyl set was cut direct from tape...but again, don't hold your breath. And yes, I agree with you on the new mono cut - didn't think I would prefer it to the -2/-3 cut or the 2014 but I do. :) Great to meet you!!!
