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Lewis, Anthony (30 August 2009). "Meet (and be) the Beatles". Los Angeles Times. Archived from the original on 7 September 2009 . Retrieved 28 August 2009. Ultratop.be – The Beatles – The Beatles In Mono" (in French). Hung Medien. Retrieved 29 September 2023. Let it Be was a -3U/-4, and sounded decent. It’s hard to beat the original -2U/-2U, because its a masterpiece. You just need to be precise with this fantastic album. The MFSL messed it up but did bring out the drums very well. I’ll take the original though. According to Magee, you’re far better having a decent ADC (Analogue-to-Digital Convertor, a high-specification Prism, in Abbey Road’s case) and a clean 24bit signal to capture all of those extra sonic highs, “The reason 24bit is important is because, in 16bit audio CD play, when you get down to indus 50Hz something then you start getting quantisation. The signal can’t make up its mind whether it’s a one or a zero. You end up with a buzzy sound. At 24bit, you get no perceivable noise.” Dutchcharts.nl – The Beatles – The Beatles In Mono" (in Dutch). Hung Medien. Retrieved 29 September 2023.
Beatle variations". Columbia.edu. Archived from the original on 21 February 2011 . Retrieved 12 March 2011. The 13 Studio Albums and Past Masters remastered in stereo using the same digital sources as the acclaimed 2009 CD's on 180g Heavyweight VinylOn the United States Billboard Top 200 albums chart the set debuted at number 15. On the Japanese Oricon weekly album charts, it debuted at number 6, selling over 35,000 copies in its first week. [18] The set was certified triple platinum by the RIAA in April 2010. The set was also certified Diamond in Canada in March 2010. [19] Rarities was interesting. It was just a bunch of mono b sides. It wasn’t a fun listen because i kept thinking about my mono masters set. At least i have it though. Rubber Soul was a -5/-3. The -3 was an early recut, but did little to improve the sound. The -5 side A sounded so much better than the original -2 or -3. The vocals and the instruments were at the same volume. However, since side 2 used the -3 metalwork, it wasn’t as pleasant. Vocals were overbearingly loud on side B, I definitely wish I’d have a later cutting. I do like the MFSL since it offers more treble to the guitar, like the band intended for Nowhere Man, but as good as it is, I think I’d still take the -5/-3. I would sneak side 2 from the MFSL though.
Overall, the 2012 vinyl discs are well pressed, quiet and detailed sounding pressings. The first run European pressings had little to no quality control issues with them. Out of my entire set, I had a copy of Abbey Road that had some noise floor issues (but was returned for a clean replacement) and the copy of Sgt. Pepper's spindle hole was too tight (which a pencil fixed). It should also be noted that due to the huge roll out (at the beginning of the vinyl revival) were a lot of quality control reports during the first release of the US pressings ( The Beatles - The Beatles) from Rainbo Records.Love Me Do should have been actually listed as the original "Ringo" single version, it says nothing so leaves everyone guessing that it's the approved since 1963 Please Please Me album Andy White version! This would have been a massive selling point but hey ho!
RIAA G&P certification count for April 2010". Recording Industry Association of America . Retrieved 14 September 2010. Harris, David (19 September 2009). "The Beatles: Reissues". Spectrum Culture . Retrieved 29 May 2021. Beatles for Sale was a -3/-4, and sounded really good. I do like the -1/-1 original better, but not by much. I think both are on par with each other. The -3 side A slightly lowered Ringo’s snare, but did offer a pleasant midrange. MFSL brightened the hell out of the album, so the original wins DeCurtis, Anthony (8 September 2009). "The Beatles The Beatles: Stereo Box Set Album Review". Rolling Stone. Archived from the original on 20 September 2012 . Retrieved 19 November 2014.
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Another point of interest is that a mastering engineer’s client can have a significant effect on the final product. If Apple was not so set on retaining the original EQ, I think that the Abbey Road engineers would have produced an even better sounding suite of albums. But then, we wouldn’t be listening to The Beatles as we know them. For the audiophile, is that a bad thing? You decide. Knopper, Steve (12 November 2012). "Inside the Beatles' Vinyl Album Remasters | Music News". Rolling Stone. Archived from the original on 11 April 2014 . Retrieved 13 November 2012. Offiziellecharts.de – The Beatles – The Beatles In Stereo" (in German). GfK Entertainment Charts. Retrieved 20 September 2023. Gold & Platinum Certification - March 2010". Canadian Recording Industry Association. Archived from the original on 26 August 2011 . Retrieved 20 June 2010.
Hernandez, Raoul (2 October 2009). "Review: The Beatles, The Beatles in Mono". The Austin Chronicle. Archived from the original on 29 November 2014 . Retrieved 19 November 2014.
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It so happened that the complex EQ applications had already been done for the CD version, “To use the 192kHz sources now would have entailed recreating the EQ source that we did at 24bit/44.1kHz, which wasn’t viable.” Another reason has been the demands of Apple: that amalgamation of the remaining Beatles plus the estates of the rest. Apple want any Beatles recordings to have a particular ‘sound’, a traditional presentation based upon the original recordings which, to some extent, constrained the mastering engineers at Abbey Road. To get the required sound required a considerable amount of EQ (Equalisation: boosting or reducing the levels of different frequencies in a signal), “To physically do this in real time whilst cutting from the original analogue masters would have been almost impossible to do,” said Magee. Lewisohn, Mark: The Beatles Recording Sessions. The Hamlyn Publishing Group Ltd., London 1988, ISBN 0-600-55798-7. P. 108. The Beatles (commonly referred to as The White Album) was originally released in mono and stereo in the UK and several other countries, but in the United States, it was released only in stereo. However, the mono mixes of " Don't Pass Me By" and " Helter Skelter" had been previously issued in the US in 1980 on the Capitol Records Rarities compilation album.
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