Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles!

BEATLES - MONO BOX SET (JPN) (LTD) (RMST) (BOX) (MLPS)
http://www.plegion.ru/item.html?Articul=EMIJ0687361.2

BEATLES - STEREO BOX SET (JPN) (LTD) (RMST) (BOX) (MLPS)
http://www.plegion.ru/item.html?Articul=EMIJ0687360.2

Оказывается и такое возможно. Ну, это для оооочень больших коллекционеров, собирающих разновидности.
А может немецкая версия имеет многоголосый сурдоперевод?

Вот здесь ещё сэмплы есть, при чём в неплохом качестве вроде... http://www.cuales.fm/

2Daniel Baggins

Ппц как Money классно звучит.

Кто-нибудь уже проводил тщательнейшее и скрупулезнейшее сравнение этих сэмплов со старыми CD или, что лучше, со всеми "инкарнациями" релизов нашего Доктора? ;-)

на офф.сайте новый ролик - making of "Beatles For Sale"

2stoned

На Money с cuales.fm можно услышать такой пианинный твист в правом ухе. Раньше не слышал.
И вообще мне кажется на амазоне какие-то неправильный семплы, вот на cuales.fm звучит лучше.

2HE1NZ:
>семплы, вот на cuales.fm звучит лучше.
Дык есть много "мест, где звучит лучше" ;-)
Я бы не отправлял никого на <богвестькуда.fm> до подтверждения утечки настоящих сэмплов. А пока это не факт. Точнее, пока факт, что это не так

мож и будет интерестно, ну нееебольшие неточности -

LIES - VOLUME 1

Swanee River
FICTION: The Beatles and Tony Sheridan - April 1962
FACT: Tony Sheridan and The Beat Brothers - 1964

You Are My Sunshine
FICTION: The Beatles and Tony Sheridan - April 1962
FACT: Tony Sheridan and The Beat Brothers - 1964

What'd I Say
FICTION: Gene Vincent and The Beatles Live - July 1962
FACT: Gene Vincent without The Beatles Live - March 1965

Hully Gully
FICTION: The Beatles Live at The Star Club - 1962
FACT: Cliff Bennett Live at The Star Club - 1962

My Evelyne
FICTION: The Beatles - BBC Radio - 1963
FACT: Abilene by The Castaways - BBC Radio - 1963

A World Without Love
FICTION: Paul McCartney Home Demo - 1964
FACT: Unknown

I Love You Too
FICTION: Paul McCartney with The Fourmost - 1964
FACT: The Fourmost without Paul McCartney - 1964

Lies
FICTION: The Beatles as The Knickerbockers - 1964
FACT: The Knickerbockers - 1964

I Wonder
FICTION: The Beatles as the Gants - 1964
FACT: The Gants - 1964

A Hard Days Night
FICTION: The Beatles - 1964
FACT: George Martin - 1964

I Should Have Known Better
FICTION: The Beatles - 1964
FACT: George Martin - 1964

So Fine
FICTION: The Beatles as The Beat Merchants - 1965
FACT: The Beat Merchants - 1965

The Girl I Love
FICTION: The Beatles - 1965
FACT: The Five Shits as The Beatles - 1965

I Feel Fine
FICTION: The Beatles - 1965
FACT: The Jimmie Haskell Band - 1965

True To You
FICTION: Jason Eddie and The Beatles - 1965
FACT: Jason Eddie and The Centermen - 1965

People Say
FICTION: John Lennon and Paul McCartney - 1965
FACT: A different John and Paul - 1965

I'm Walking
FICTION: John Lennon and Paul McCartney - 1965
FACT: A different John and Paul - 1965

Michelle
FICTION: The Beatles - 1965
FACT: Unknown

Stephanie
FICTION: The Beatles - 1966
FACT: Unknown

Pink Litmus Paper Shirt
FICTION: The Beatles - 1966
FACT: The Cheatles

Colliding Circles
FICTION: The Beatles - 1966
FACT: The Cheatles

A Fool Was I
FICTION: John Lennon - 1966
FACT: Unknown

Lonely Like A Rainbow
FICTION: The Beatles - 1967
FACT: Cohen and Shatners

Shoes
FICTION: The Beatles - 1967
FACT: Paul McCartney interview with Overdubbs - 2009

Love 'N
FICTION: The Beatles - 1967
FACT: Colours

Peace Of Mind
FICTION: The Beatles - 1967
FACT: Unknown

2HE1NZ:

>Ппц как Money классно звучит.
Блин, жаль не успел послушать. Щас там только фрагменты с Сержанта, либо я просто не могу найти.

2Jude
Седня днём довольно часто сменялись треки. Я успел послушать пятерки из With the Beatles, Rubber Soul, Magical Mystery Tour, и Сержанта.

Честно говоря, я не понял, что там на куалес "ппц как классно звучит".
Послушал Сержантские фрагменты.
Одно ясно - громко.
А качество звука как с битрейтом, что и до 100 не дотягивает.

2stoned:

>Кто-нибудь уже проводил тщательнейшее и скрупулезнейшее
>сравнение этих сэмплов со старыми CD или, что
>лучше, со всеми "инкарнациями" релизов
>нашего Доктора? ;-)
Ну проводил, стою дальше на своём, вернее лежу, и продолжаю слушать винил и рипы, таким наверно и сдохну, кто бы мне тут чё не доказывал, а от этих тварей с эми нормального микса в этой жизни наверно не дождусь, привет доктору

А звучок-то пространственнее стал! Объёмнее. Видать, поработали-таки с панорамой. Мне понравилось!

2Flaming Rain:

>Честно говоря, я не понял, что там на куалес "ппц как классно звучит".
>Послушал Сержантские фрагменты.
>Одно ясно - громко.
>А качество звука как с битрейтом, что и до 100 не дотягивает.

Сержанту повезло меньше остальных, т.к. он и так нормально звучал (тут кардинально улучшить может только ремикс). А в целом записи звучат чище, баланс частот такой, что уши не режет как раньше от высоких. В общем хочу ещё.

2HE1NZ:

>2Jude
>Седня днём довольно часто сменялись треки. Я
>успел послушать пятерки из With the Beatles, Rubber
>Soul, Magical Mystery Tour, и Сержанта.

а с остальных кроме сержанта альбомов звук как чище стал? есть разница с тем что на амазоне? на амзоне я не слышу изменений особенно если говорить о белом альбоме - который записан хуже всего..
была надежда что хоть белый почистят и нормализуют по звуку как следует...

Вот источник ссылки на сэмплы, если кого интересует.... http://dsulpy.proboards.com/index.cgi?board=beatleday&action=display&thread=3666&page=34

2kostya34:
>Ну проводил, стою дальше на своём, вернее лежу,
Я не о том :-) Сравнить предлагал, т.к. публикация реальных сэмплов пока не имела место быть. Вот и хотел удостовериться, что на cuales.fm выложены не какие-нибудь фэйки (например, бутлеги Др.) Но сейчас это уже не имеет значения (для меня) - ибо те сэмплы были mp3

(Сорри, без перевода)

Rolling Stone 1086, September, 4


Meet the Beatles, Again
Inside Abbey Road, as the Beatles' albums get their first sonic upgrade in 22 years. By Bryan Hiatt

Ever since the Beatles' albums first appeared on CD, in 1987, fans have complained about the discs' anemic sound quality. After a 22-year wait, the caretakers of the band's legacy are finally doing something about it - with remasters of all 14 albums hitting stores on September 9th. "I remember going into a museum and seeing Winston Churchill's old papers, and they were getting yellower and crinklier," says Paul McCartney. "And what the joy for me is, our stuff is going the other way. It's getting clearer, and as long as the mixes and stuff are carefully followed, which the guys at Abbey Road do, you know it's not as if it's just a bunch of people in China doing it."

Rolling Stone's July 1987 review of the original CD releases complained that they were "shriller and more grating" than the vinyl versions. And as digital sound improved over the years, the CDs' shortcomings only became more obvious. (In contrast, the Rolling Stones' catalog has been remastered at least three times since its original release.) But it wasn't until four years ago that McCartney, Ringo Starr, and Beatle widows Yoko Ono and Olivia Harrison finally approved the idea of remasters - and a team of Abbey Road engineers (headed by Allan Rouse, who worked with George Martin on 1995's Beatles Anthology) immediately went to work.

The first step was to transfer the original master tapes - housed in "a vault with two steel doors, both with combination locks, an alarm, two cameras, and a smoke detector," says Rouse - to digital files, one song at a time. The remastering team spent much time debating how much to clean up the recordings by removing hiss and other flaws. "What we did agree was that if it was part of the Beatles' performance, we weren't going to remove it," says Rouse. "The squeaky chair at the end of 'A Day in the Life,' breaths, coughs, anything that was actually really part of the performance, those stayed. Anything that we considered to be technical - clicks, sibilance, pops, bad edits, drop-outs, hum, things that were a technical problem - we would either try and improve them, or, if possible, remove or repair them."

One of the most fraught issues was loudness. The 1987 CDs are dramatically out of step with current trends in mastering - they sound puny next to more current rock releases, which make extensive use of audio limiting to reduce dynamic range and make songs seem louder. After extensive debate, the engineers ended up using a "tiny amount" of limiting - which still had a major effect on the sound: "I Am the Walrus," the title track from Sgt. Pepper's Lonely Hearts Club Band, and other rock tunes have a newfound heft and thump. "It gave it a little lift," says Rouse.

The remasters mostly offer improvements that are subtle but noticeable. "Love Me Do," for instance, loses its dusty, distant haze of age, and "The Long and Winding Road" no longer has what Rouse described as a "muffled" quality to it. Otherwise, it's a matter of suddenly noticing details: McCartney's nimble bass line on "And Your Bird Can Sing," the vivid three-dimensionality of Starr's opening and closing hi-hat on "While My Guitar Gently Weeps," the cinematic quality of the choirs and orchestra on "Good Night."

But even before the engineers began tweaking them, the digital transfers immediately sounded better than the 1987 versions, for two reasons: Analog-to-digital converters have vastly improved since then, and they were also able to work at a higher resolution than before: specifically, 24-bit, 192 kHz, which is used in the Blu-ray audio format. At that bit rate, the engineers say, the digital version is indistinguishable from the original masters - but, alas, there are no plans yet for a Blu-ray release. ("There's plenty of time," McCartney says.)

The engineers were well aware that many listeners won't even spend much time listening in CD quality, let alone Blu-ray - they'll rip the CDs to their iPods and listen to them in lossy MP3 and AAC formats. "It's like if you clean up a painting, and then you photocopy it or something," says engineer Paul Hicks. "The thing is, it's still going to look better, even though it's a photocopy. It was definitely worth doing this, because the resolution might not be as good, but it will still be clearer and better, and hopefully there will be things people are going to hear that they haven't previously."

<continued>

In addition to the stereo remasters, the team assembled a box set, The Beatles in Mono, which collects every existing mono mix of the band's music. It's the first time that the mono mixes of Sgt. Pepper, the White album, and Magical Mystery Tour have been released on CD. (Confusingly, the 1987 CD releases of the Beatles' first four albums - Please Please Me, With the Beatles, A Hard Day's Night, and Beatles for Sale - used the mono mixes. The new releases will use the stereo ones instead, with the monos relegated to the box set.)

The mono versions are no mere curiosity. They can be radically different, to the point where there's entirely different vocal effects on, say, "Lucy in the Sky With Diamonds" - and rock songs like "Helter Skelter" hit with a revelatory, garage-y force. Up until Abbey Road, the Beatles themselves focused almost entirely on mono versions. "In the main, we thought mono," McCartney says, noting that the band spent weeks on the mono mix of Sgt. Pepper, and then left the stereo to George Martin and engineer Geoff Emerick. "The stereo mix wasn't really important to us - we figured, well, you just spread the mono."

Some Beatles fans will be eager to compare the new remasters to their original vinyl - but while the engineers did make their own comparisons to the LPs, matching them wasn't the point. "No one's heard the master tapes apart from us," says Guy Massey, one of the engineers. "And you have to remember some of the limitations of vinyl - they had to cut some of the low end off to master it." Adds Rouse, "These releases are closer to the master tape than you've heard before."

McCartney judges the reissues by an even higher standard. "It sounds like it did in the room when we recorded it," he says. "We had this pure sound, then the minute it goes down a bunch of wires it's going to get ****ed up to some degree. So now it sounds like I'm back in the room, in the session."

The remastered albums come with new liner notes and mini making-of documentaries. After the outtakes-filled Anthology release, the Beatles are reluctant to dig deeper into the vaults - which include hundreds of hours of unreleased recordings, from unheard Beatles tracks to early versions of tracks that ended up on solo records. "George Harrison and I were joking when we did Anthology - we were saying, you know, the next album should be called 'Scraping the Bottom of the Barrel," says McCartney. "Because there is that element to it like, 'Come on, guys, ****, we made all these Beatles records sound lovely and shiny and terrific, and now we're looking for the outtake that got away.'" Still, there is material McCartney would like to release, including "Now and Then," an extra Anthology-era song that (like "Free as a Bird") found Harrison, McCartney, and Starr adding to a John Lennon recording. "George didn't like it - basically, he didn't think it was good enough," says McCartney.

McCartney admits he's no audiophile. "I can listen to a record on the radio on the beach and it sounds OK to me," he says, sitting in Abbey Road studios, where he's co-producing a new album by his son James' band, The Light. "I'm probably the least tech person in the universe, you know. And John wasn't an audiophile either. It was always George Harrison who spotted when Capitol re-EQ'd our albums [in the Sixties]." So McCartney sees the remasters in emotional terms, not technical ones. "Now I hear John and think, 'There he is,'" he says. "Like, you can almost close your eyes and you can kind of see him, because the quality is so real. So I like that about it."