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Sgt. Pepper's Lonely Hearts Club Band [VINYL]

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So eventually I got a job at the Australian Record Company. I told my parents about my new position, and they said “Oh no! A government job is very secure!” As well, my school careers adviser had suggested being a train driver, or bus driver instead (laughs).

One rare version has been out of reach: the Nimbus Supercut pressing, said to be one of the best. But in the course my research, I came across a lesser-known Australian audiophile release from 1983, the EMI Audio-5. I have come to realize that, from a sound quality perspective, this may be the most valuable and best sounding of them all. To any Beatles collector, of critical importance is the label. Before you buy any Beatles record, you must examine the label to ensure it's authenticity. It has to have the right credentials. And of course, the condition is also all important. So for five years I was cutting at CBS, with all kinds of fantastic music – ELP, Eagles, the Doobies, product from Europe, from Polydor, Bob Dylan, and all the Columbia classics. In those days we had to master at least four albums a day. You were not allowed to change the sound at the time, but were told to make it as loud and clean as possible on the lacquer master. I had built my own amp, mixer and speakers, so I was already a minor hi-fi buff. But it really got me thinking that I want to get into this business, this process. It was a life changing experience. I thought, “There’s something going on there I want to know more about.” I had albums before that – but this one came along, and it was a combination of everything I had been listening to. Such a clever production - it grabbed me. Inspirational is the word. The Beatles Yellow Submarine Greeting Card | 60s Beatles Card | Beatles Music Card | Beatles Song Art Card | Psychedelic Groovy 60s CardWe arrived and took our seats, the aisles crowded with expatriates. The first film was “Marooned,” about astronauts stranded in space. The special effects were state of the art, with our friends the Russians saving the day at the end. But then the second feature started to roll - the movie was “Yellow Submarine.” The Beatles "Sgt Pepper" 50th Anniversary Gold Vinyl Cd Record And Autographed Cover Mounted And Framed - Unique Collectable/Gift

When I'm Sixty Four Print - The Beatles - Beatles Quote - From Sgt Pepper Album - Beatles Gift - Beatles Gift - Beatles Quotes - Beatles Beatles Rug, The Beatles Fan Rug , Teen Room Rug, Living Room, Non-Slip Rug, Office Rug, Printed Rug, Cool Rug, Floor Rug, legend RugDB – They were quarter inch 30 IPS tapes. I was amazed at how it corresponded with that first record I had been listening to. I thought it would be more open and detailed, but there was very little difference in terms of those early vinyl recordings, which is a testament to how good they were. That’s the thing about this album – how well it was recorded and produced. And how the tape sounded like the original vinyl issue – there was so little difference. The tape was nearly identical. Yet for most fans the Anniversary Edition’s promise is for greater authenticity, better sound, and less clunky stereophonics. For me, it’s a split decision. First, the sound. The original LP and CD of Sgt. Pepper are quite similar sounding. They share thin tonality and pond-flat dynamics. The CD is worse due to sharp highs and pervasive edginess that make it hard to listen to. A 2009 CD remastered by Guy Massey and Steve Rooke smooths and fills things out. Rhythms have more drive, dynamics have some life, and the superior transparency makes details more audible. Not surprisingly, since it was made from the very same digital remasters, the LP found in The Beatles 2012 vinyl box set sounds very much like this CD. Both constitute worthy upgrades over their predecessors. The Beatles Wall Art With LED Lights, The Beatles Wall Led Sign, The Beatles Lovers Gift RGB LED Light Sign, Christmas Gift, Birthday Gift Fewer than 500 copies of the Audio-5 album were made. This is fewer than the Nimbus Supercut production run, making it one of the rarest Sgt. Pepper’s… factory pressings in existence. It was never available at retail outlets and was sold only for “cash in hand” at the hi-fi show. And its audiophile provenance makes it all the more desirable. DB - I really enjoyed working with clients, because I learned a lot from them - just listening to them talk about how they went about making the record, and what they wanted to hear as the end result. Some clients were very technical and specific and others were musicians, and spoke more on a musical, emotional level. I just learned so much from all of them. I never took a course. Apart from Richard Harvey at CBS, who taught me the ground rules - and did a good job of it - I never actually had a formal education in mastering, as there were no courses in those days. I’m not self-taught, but learned from a lot of people around me, and the ones who came before me.

In 1987, Sgt Pepper’s Lonely Hearts Club Band was released on CD for the first time. It was, by some considerable distance, the most ballyhooed reissue in the history of pop. A two-hour documentary about the album and its place in history was shown at prime time on ITV, even then a very peculiar place to find Allen Ginsberg and Abbie Hoffman discussing LSD and the Exorcism of the Pentagon protest. DB – When I started mastering in 1971, I was told to leave the recordings alone – no EQ or other changes allowed! The priority was to transfer the audio on to the vinyl without distortion. And if you have a good clean vinyl of a traditionally cut record, you’ve got a bit of gold there, because they don’t age. Vinyl is a very accurate physical representation of the audio modulations etched into it. I also mastered an AC/DC project for the Albert group. Ted Albert attended the session and spent time with me while I mastered the album. I also mastered a direct to disc recording one weekend – Crossfire, Direct to Disc. It was very successful, did very well, and it was an exciting process. Charles Fisher produced that one as well. Apple Corps and Universal Music will next month reissue The Beatles‘ 1967 album Sgt. Pepper’s Lonely Hearts Club Band as a six-disc super deluxe edition box set, 50 years after the original album was first released.

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DB – Yeah, for me it was fantastic, because it was one of the very first albums I bought. It was the stereo version, and in fact, I still have that copy (laughs). I heard it for the first time in 1967, and I was mesmerized. At the time, I was working for the government as an electronics technician in training. I listened to this incredible sound coming off that record, and said ‘Wow, what is this?” I was fascinated, and I thought to myself, “I want to do this for a living!” The standard line about the album is that, at its centre, it’s a work of tremendous warmth and inclusion, that attempts, as Ed Vulliamy writes in the accompanying book, to “embrace everybody – ‘the man from the motor trade’, ‘the girl with kaleidoscope eyes’”. There are moments where it sounds like a high-water mark of hippy-era optimism before disillusion set in. Their fans are lovely and the band want to take them home, life is getting better and a splendid time is guaranteed for all – including traffic wardens, worried parents of errant teens and cosy sexagenarian couples. Apple, the Beatles’ label, has attempted to set things right a couple of times, first in 1982 with a remastered Beatles in Mono CD box set; and later, in 2014, with a 180-gram mono vinyl box set taken from the original analog tapes. Still, although these releases did allow us to hear the album as the Beatles had intended, they were still in mono and thus missing the spatial benefits of stereo.

I also take issue with some of Martin’s stereophonic choices. Why, for example, should the first three notes of the harpsichord theme that introduces “Lucy in the Sky with Diamonds” be placed in the left channel, while the fourth (and others) find themselves in the right? The effect not only comes across as arbitrary, it distracts from the musical line. Thus, a lifelong appreciation of the Beatles started for me. Yellow Submarine is one of their more underappreciated albums, but it is still my favorite to this day. I listen to it every few months without fail.If the new mix and stereophonics were equally laudatory, this album would be a watershed event. Sadly, this is where the younger Martin fails us. He boosted all of the vocals—as well as certain instruments—to the point where they’re right in your face. And there’s no letup. So rather than the Beatles’ carefully-plotted journey through emotional highs and lows, Martin gives us an album that’s unremittingly aggressive. Rather than inviting you into a fascinating world, as even the lousiest-sounding predecessors did, the new edition pushes you away.

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