BEATLES PAST MASTERS COLLECTION IN BOTH MONO & STEREO VINYL AUDIOPHILE EDITION + CD BONUS ALL THREE PRESSINGS NEVER HAD STORE PRICING STICKERS ATTACHED TO PLASTIC WRAP AND ALL ARE WITH VERIFYING COLLECTORS ORIGINAL RELEASE 1ST EDITION MARKETING/HYPE STICKERS SHOWING THAT THE TWO LPS WERE pressed ON 180 GRAM REMASTERED PREMIUM VINYL OR CDS AND THOSE STICKERS ARE STILL ATTACHED TO THE SEALED PLASTIC WRAP PROTECTING THE LP JACKET & VINYL & CD INSIDE.. IF YOU DON'T SEE THESE STIKCERS ATTACHED YOU ARE NOT PURCHASING THESE ORIGINAL RELEASES.
STARTING THIS SET
The Beatles Mono Masters 1ST EDITION 180 GRAM AUDIOPHILE 3 LP SET (Mono) TAS Super LP List! Special Merit: Informal All-Analog Remastered from the 1/4" Master Tapes at Abbey Road and Pressed at Optimal in Germany!
180 GRAM Triple Vinyl Mono LP!
"For Beatles fans what could be more enjoyable than sitting down and listening to the singles as originally intended, (direct, sharp and juke-box bright on top) cut from analog tapes and sounding as fresh and new as if they were recorded yesterday? ...If ever there was a more powerful demonstration of analog's superiority, compare these 3 LPs with the double CD set in The Beatles in Mono CD box. The rich harmonica on the LP of the primitively recorded "From Me to You" sounds hard and annoying on CD. The reverberation that floats free and surrounds the instruments dries up and evaporates. The picture is flat and un-involving and on this CD when you play "I Call Your Name" and you scream out "MORE COWBELL PLEASE" you'll mean it. Just play that cowbell for anyone who will listen and then play the record. Game over!" - Michael Fremer, analogplanet, Music 10/10, Sound 10/10!
An all-mono compilation titled Mono Masters is included as part of the Beatles In Mono series. Since the point of the series, and the box set, is to compile only Beatles material released or prepared with a dedicated mono mix, the tracklisting for Mono Masters differs from Past Masters omitting some songs that never had a mono mix and adding songs from stereo-only album that had unreleased mono mixes.
The Beatles in mono: This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. The Beatles’ nine U.K. albums, the American-compiled Magical Mystery Tour, and the Mono Masters collection of non-album tracks are released in mono on 180-gram vinyl LPs with faithfully replicated artwork and newly mastered from the analogue master tapes.
In an audiophile-minded undertaking, The Beatles’ acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While The Beatles In Mono CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers.
Working in the same room at Abbey Road where most of The Beatles’ albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.
Manufactured for the world at Optimal Media in Germany, The Beatles’ albums are presented in their original glory, both sonically and in their packaging.
Features:
• 180g Vinyl
• Triple LP
• Mono
• Remastered at Abbey Road Studios
• Newly mastered for vinyl from quarter-inch master tapes by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz
• Faithfully replicated artwork
• Newly mastered from the analogue master tapes
• Manufactured at Optimal Media in Germany
Selections:
LP 1 - Side 1:
1. Love Me Do (Original Single Version)
2. From Me To You
3. Thank You Girl
4. She Loves You
5. I'll Get You
6. I Want To Hold Your Hand
7. This Boy
LP 1 - Side 2:
1. Komm Gib Mir Deine Hand
2. Sie Liebt Dich
3. Long Tall Sally
4. I Call Your Name
5. Slow Down
6. Matchbox
7. I Feel Fine
8. She's A Woman
LP 2 - Side 3:
1. Bad Boy
2. Yes It Is
3. I'm Down
4. Day Tripper
5. We Can Work It Out
6. Paperback Writer
7. Rain
LP 2 - Side 4:
1. Lady Madonna
2. The Inner Light
3. Hey Jude
4. Revolution
LP 3 - Side 5:
1. Only A Northern Song
2. All Together Now
3. Hey Bulldog
4. It's All Too Much
LP 3 - Side 6:
1. Get Back
2. Don't Let Me Down
3. Across The Universe
4. You Know My Name (Look Up The Number)
This compilation album by The Beatles was originally released in 1988. Volume 1 covers 1962-1965 releases while Volume 2 covers 1965-1970. "Love Me Do" (original single version), "She Loves You", "I'll Get You", and "You Know My Name (Look Up the Number)" are presented in mono. Packaging, notes and photographic content is based on 2009 CD release.
The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes!
Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.
When The Beatles’ albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded.
None of that would really matter, were it not for the enduring power of The Beatles’ music. In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.
For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”
REMASTERING THE BEATLES’ ORIGINAL STUDIO ALBUMS FOR VINYL:
There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.
The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.
A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.
The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the 24-bit Digital Masters Sourced from the Original Analog Master Tapesrather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.
Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.
The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.
An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.
Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.
"The B side of 'Paperback Writer' was Lennon's response to people moaning about the wet British weather. It featured one of the earliest uses of backward tape, which Lennon said was the result of being stoned and spooling up the tape wrong. It also included virtuoso drumming from Ringo Starr. 'I feel as though that was someone else playing,' Starr said. 'I was possessed!'" - Rolling Stone
Features:
• Available for the First Time on 180 Gram Vinyl
• Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes!
Selections:
1. Love Me Do (mono)
2. From Me To You
3. Thank You Girl
4. She Loves You (mono)
5. I'll Get You (mono)
6. I Want To Hold Your Hand
8. This Boy
8. Kom, Gib Mir Deine Hand
9. Sie Liebt Dich
10. Long Tall Sally
11. I Call Your Name
12. Slow Down
13. Matchbox
14. I Feel Fine
15. She's A Woman
16. Bad Boy
17. Yes It Is
18. I'm Down
19. Day Tripper
20. We Can Work It Out
22. Rain
23. Lady Madonna
24. The Inner Light
25. Revolution
26. Get Back
27. Don't Let Me Down
28. The Ballad Of John and Yoko
29. Old Brown Shoe
30. Across The Universe
31. Let It Be
32. You Know My Name (mono)
PLUS FOR YOUR CAR STEREO - The Beatles Past Masters Volumes 1 & 2 DOUBLE CD SET
Rolling Stone 500 Greatest Songs of All Time - "Rain" - Rated 469/500!
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