2 John Lennon Knows Your Name- если память не изменяет МФ все же америкосы, и мастера брали в штаты, а пресс остальное и производсто джапан. а вот возили ли сами мастера в поднебестную - мрак.
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 18.09.09 21:17:53
OK, so The Beatles are in the charts again, following last week's Remasters releases. I'm of course going to first focus on the all important Norwegian chart: "VG-lista". VG is the biggest newspaper in Norway, and their weekly record charts have been reigning supreme in Norway for many decades. This week's albums chart has more than a hint of country and western flavour.
Norway's Top 40 Albums week 38, 2009.
1. Melodi Grand Prix junior 2009 - Various artists 2. Blue Ridge Rangers Ride Again - John Fogerty 3. The Beatles Boxed Set (Stereo) - The Beatles 4. I Look To You - Whitney Houston 5. Tarpan Seasons - Solveig Slettahjell 6. Norwegian Favourites - Alan Jackson 7. Dreams of Yesterday - Bobby Bare 8. Dredsden - Jan Garbarek 9. En Samling - Thomas Dybdal 10. Oslo Agreement - Paperboys
I'm not going to bore you with the rest of the list, suffice to say that the Beatles in Mono didn't make it to the Top 40, but some individual albums did:
23. Abbey Road - The Beatles 31. Sgt. Pepper's Lonely Hearts Club Band - The Beatles 36. Revolver - The Beatles 39. The Beatles (aka "The White album") - The Beatles
The individual album sales have been disappointing, what people want is the stereo boxed set. Unfortunately, it's sold out - EMI Norway didn't have enough boxed sets to supply to the shops the actual amounts each shop had ordered. Too bad. But still - hey! They placed third! With a huge and expensive box! In other charts:
UK as reported by NME
1. Vera Lynn – We'll Meet Again – The Very Best Of 2. Jamie T - Kings & Queens 3. David Guetta – One Love 4. Arctic Monkeys – Humbug 5. The Beatles - Sgt Peppers Lonely Hearts Club Band 6. The Beatles - Abbey Road 7. Kings Of Leon – Only By The Night 8. The Cribs - Ignore The Ignorant 9. The Beatles - Revolver 10. The Beatles - Rubber Soul
USA Billboard's Top Comprehensive list is the one to reckon with, because Billboard's more famous "Top 200" list has been given a limitation: It now only lists new and current albums, so it no longer reflects the real Top 200 biggest sellers. Why on earth did they make that decision? Anyway, here goes the Top 3:
1. Blueprint 3 - Jay-Z 2. The Time Of Our Lives - Miley Cyrus 3. Abbey Road - The Beatles
and further down the list:
5. Sgt Pepper's Lonely Hearts Club Band - The Beatles 7. The Beatles (aka "The White album") - The Beatles 8. Rubber Soul - The Beatles 10. Revolver - The Beatles 15. The Beatles Boxed Set (stereo) - The Beatles 40. The Beatles In Mono - The Beatles
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 16.09.09 02:11:36
и этот стон у нас песней зовется? да лав вооще на 9 дисках гуляет, больше трех не осилил. а как сами битлы чего слышали, это скорее ДЕМАГОГИЯ, сам попробуй вспомнить с какой ноги сегодня встал...
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 15.09.09 21:09:37
послухаешь тута некоторых - ухи вянут! что есть винил как готовый продукт (до восмидесятых), это - 1. оттиск металического пресса негатива 2. котрой есть оттиск металического мастер позитива 3. тоже оттиск с металического мастер негатива 3. типа оттиск с лакового диска изготовленный путем механической нарезки 4. с копитейпа(ов) 5. сделанных с мастертейпа это есть стандартная схема. все нормальные страны имели свою разработку станков, соотвественно и качество. и исходник у всех был, кроме одного исключения, ТОЛЬКО копитейп, не знаю почему тут один товарищ умалчивает данный \и почти незначительный\ факт. так что разговор о качестве винила вроде вполне понятен. абсолютно также не понятны попытки сравнить несравнимое. ну какое может иметь отношение 87 и 09, кто сказал что сделано с техже мастеров? Ремастер делался с мастеров которые даже лет двадцать на Божий свет не вынимался, и тут достаточно вроде материала из первоисточников... все медленно перематывалось, отчищалось от пыли, статики, почти все по новой склеивалось - скотчи все поотваливались... стерео версии на моно и должны отличатся от 87, это оригинальное стерео 65 винила. а для любитель сравнивать современный цд и винил пусть попытается для начала осилить теорию, тут товарищ уже давал довольно исчерпывающую сноску... и куда намного итерестнее узнавать о новых открытиях на старых вроде тряках.
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 14.09.09 13:49:19
2 dannymass Насчет моно соглашусь - недавно слушал "Музыкальный калейдоскоп" 1968 года мелодиевский (на котором еще записана "Девушка", муз. и сл. народные) - некоторые песни прописаны просто потрясающе - а Вы уверены что он 68 года, а не более раннего?
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 13.09.09 15:15:23
Every Beatles album through The White Album was mixed with the purpose of being heard in mono. Capitol’s remasters mark the initial occasion of Please Please Me, With the Beatles, A Hard Day’s Night, and Beatles for Sale being available on disc in a stereo mix; the converse is true for Help!, Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts Club Band, Magical Mystery Tour, and The Beatles.
Specifically, the group’s early records tend to sound unnatural in stereo, as the hard panning seems forced and artificial—which, in actuality, it is. In mono, the Beatles’ music thrives from ultra-dynamic front-to-back layering that, intentionally or not, often gives the impression of a stereo mix. The changes wrought by the remasters are dramatic.
Please Please Me is distinguished by a previously vacant fullness, richness, and enormity. There’s discernible air and echo around the swooping vocals on “Misery,” and resolute imaging on “I Saw Her Standing There”—quite a thrill. And the bottom end—quite possibly the single-biggest enhancement on all of the remasters—registers with a forceful thump rather than a dull, empty thud. No longer an undefined aural morass, “Twist and Shout” explodes with a clean yet musical clarity, the singing more distinctive and immediate, the instruments possessing true timbres and resonant clatter. And who ever notices the expressive “Yeah!” at the end of the take?
Similarly, the mono With the Beatles unfolds with ear-bending vibrancy and liveliness. The rolling vocal harmonizing on “All My Loving” astounds. Across-the-board upgrades in airiness, dimensionality, depth, size, and Paul McCartney’s vastly underrated bass lines are detectable on every song. And whether it’s the now-noticeable presence of the piano or the wonderfully rattling chords on “Money,” or discernible rhythmic rumble on “Hold Me Tight,” the record has received a startling facelift that even Hollywood’s most expensive plastic surgeon wouldn’t be able to configure. With the band long faulted for being too sweet, the mono remasters open up space for the argument that the Beatles possessed an edge—if not a slight mean streak (witness the 3-D imaging of “No Reply” off Beatles for Sale).
Vocal precision, smoothness, and extension become even more pronounced on Help! and Rubber Soul. Ditto for the realistic bottom end, long absent on most Beatles recordings. McCartney’s bass and Ringo Starr’s percussion ride side-by-side, and smart albeit illuminating shades and accents—the tambourine on “You’ve Got to Hide Your Love Away,” the twangy pitch of the guitar strings on “Ticket to Ride,” the breathlessness of Lennon’s singing on “Dizzy Miss Lizzy,” the natural fade-out on “I’ve Just Seen a Face,” Lennon’s sucking of air through his teeth on “Girl,” the barbershop-quartet swoons during “Michelle”—emerge with breathtaking clarity. Enmeshed with the song as a whole, Starr’s Hammond organ playing on “I’m Looking Through You” now comes across as an integral part of the arrangement.
Revolver marks the point at which the mono-versus-stereo debates begin to get interesting. Admittedly, the backward tape loops on “Tomorrow Never Knows” sound cooler in stereo. In addition, stereo is how most listeners are accustomed to hearing music; for some, mono seems bare. Yet all that’s sacrificed with the latter versus stereo is a larger soundstage, a perceived sense of “hugeness,” and the security of familiarity; mono mixes exhibit an organic presence, naturalness, purity, and outright musicality that render moot any tradeoff. The horns on “Got to Get You Into My Life” have never emitted such boldness or pizzazz; the transparency of the chords during “Here, There and Everywhere” and movement of the bounding piano in “Good Day Sunshine” are utterly staggering. Pure genius.
And yet, the mono version of Sgt. Pepper’s trumps the stereo in several regards. In stereo, “She’s Leaving” runs slower and lower in pitch; the laughter in “Within You Without You” is quieter at the end; McCartney’s scatting is hardly audible on “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)”; the psychedelic phrasing on “Lucy in the Sky With Diamonds” isn’t as clear. Such discrepancies owe to the time lapses that occurred between the mono and stereo mixes as well as the full (or partial) participation of the band and George Martin, both of which favored mono.
Accordingly, the stereo version of The White Album boasts life-size images and discerningly more pronounced frequency extension than its mono counterpart. The immersive experience gives birth to underexposed intricacies (the single snare drum strike that parallels the “shot” in “Rocky Raccoon”), defined footprints (McCartney’s bass purrs and growls), and completely new sounds (“Revolution 1” has what seems to be a horn—who knew?). Differences still abound. The mono version of “Helter Skelter” is shorter, sped up, and without Starr’s renowned “blisters on my fingers” comment. The aircraft effects during “Back in the U.S.S.R.” vary, and there are fewer grunts in “Piggies.” Due such distinctions—and no clear-cut winner between the two versions, although stereo does seem to have the edge—both versions are considered “authentic.”
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 11.09.09 23:14:10
Giles Martin and your's truly outside Abbey Road Studios, July 2009
In 1987, as the Beatles catalog was due for their first CD release, producer George Martin wanted to go back and remix the sixties version of stereo to something a bit more updated for the modern ear. Because of a rushed release schedule, he couldn't do this for the first four albums, Please Please Me, With The Beatles, Beatles For Sale and A Hard Day's Night, as they were due for release in February 1987. So, as a compromise, they were released in mono, which were mixes the producer was satisfied with. The next batch of releases were Help!, Rubber Soul and Revolver, due out in April 1987, and this time, Sir George had time to prepare updated mixes for these. He had a listen, and while he thought Help! and Rubber Soul needed remixing, he was satisfied with the sixties stereo mix of Revolver and all the albums that followed. So he remixed Help! and Rubber Soul, and when they were released on CD they had an "eighties" stereo soundscape. (Except for some Canadian pressings of these CD's where the original sixties stereo mixes had been used by mistake.) Over the years, Beatles fans and music lovers have been rather critical to the 1987 mixes of those two albums, especially because they brought in an amount of echo and reverb which hadn't been present on the sixties stereo mixes. Then, when the remasters were announced, these fans were shocked that they were once again to use these inferior 1987 remixes for the general release of the remastered catalog (albums available individually and as part of the stereo remasters boxed set). In a telephone interview that Detroit's Classic Rock station's (FM 94,7) Deminski and Doyle conducted with Giles Martin, son of Sir George, the producer unexpectedly was able to shed some light on why the eighties mix was re-used. Deminski and Doyle had made several erraneous assumptions, first of all they thought that Giles was involved in the remasters project, secondly they assumed that the remasters were also remixed, not just remastered. As these assumtions were both untrue, the interview do provide an insight into the narrow world behind the walls of Abbey Road studios and the hap-hazard manner in which things happen. Giles Martin was in the studio, remixing the Beatles songs that were going to be used in the The Beatles:Rock Band game, singling out specific instruments from otherwise interlocked studio tapes, so he was able to talk a bit about that process. But he was also involved in the "Love" project, and he was an insider at Abbey Road, so he was also able to listen in to the remasters project that was going on at the same time as he was mixing for RockBand. Here's what he said (transcripted by me from the podcast of the interview) about those infamous 1987 remixes: Giles Martin: Rubber Soul and Help! were remixed by my dad in 1988 or '87 for CD. And when we did "Love", we got to do Yesterday, and I couldn't understand why there were so much echo and reverb on the voice 'cause it was very non-Beatles. And it was only when I came back and I was listening to the remasters I asked "how come this is the case?" and they said "well we are remastering the eighties versions of [Rubber Soul and Help!]" and I said "why aren't we remastering the originals, we should remaster what came out then [in 1965]?" --- And they said "Well, your father wouldn't be very happy with us not remastering the versions he did in the eighties." So I spoke to my dad and I asked "Do you mind if they remaster the sixties version?" and he went "I don't even remember doing them in the eighties!"
Allan Rouse in an interview with Record Collector: "The remasters were based on the master-tapes, with the exception of two albums: George Martin's 1987 mixes of Help! and Rubber Soul. People are questioning why we used those. George Martin is the fifth Beatle. He chose to do it. You can argue with him, but I'm not going to."
So there you have it! The stereo remasters are the 1987 remixes out of the involved remastering engineers' misguided rspect for Sir George!
Now, the original 1965 stereo mixes are not lost to the world, because they are an added bonus on the mono remasters of those albums, but these are only part of the mono boxed set, and are not for sale to the general public as individual albums.
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 11.09.09 23:07:32
2TAO Blues- >2TAO Blues- >см. 08,09,09 20,13 см. - смотри 08,- 8 число, 09,- месяц т.е. сентябрь 09,- год 2009 20,13- время (местное) отравки осталось тока проглотить...
Re: Ну что, дождались! 9 сентября вышел ремастированный каталог The Beatles! Автор:kosheiДата: 10.09.09 20:31:52
Hard to believe that it's been 40 years since the Beatles sang "You Never Give Me Your Money." You had to expect at least one cheap shot, didn't you? The Beatles' remastered catalog and a dazzling coffee-table "Box of Vision" hits the market Wednesday, as most dedicated fans have known for months. Fanatics will line up, but for most people, a purchase decision is more likely to be financial than musical.
Technicians at Apple Corps Ltd. spent four years cleaning up and giving a digital punch to the master recordings left behind by the Beatles. Each is available individually, as well as in a $259.98 box set that includes the band's original discs, plus the "Past Masters" singles collection, 14 albums in all. Mini-documentaries are included for all but "Past Masters." Also on sale is a $298.98 box of mono mixes for each album through the "White Album"; after that the music was only released in stereo. For those under age 50, mono has the same music coming through each speaker (stereo splits different parts of a track through different speakers) and was the dominant music system in homes until the late 1960s. At first, the Beatles devoted more attention to their mono mixes. The "Box of Vision" is an $89.98 package (plus shipping -- it's only available by mail order) to fit all of the CDs with album-sized reprints of every album's covers and liner notes -- yet no actual CDs included.
Do the math: it's possible to spend upwards of $350 and receive not a single note of new music.
Given that we're in an era where artists have a hard time convincing fans they should pay for ANY music, that falls into the selling-ice-to-Eskimos category. Despite that, despite the economy, Amazon.com sold out its allotment of boxes and has a waiting list of buyers. Now, this is the greatest catalog in popular music, so if your collection is Beatle-less, the box is a terrific buy. Really, though, what serious pop music fan doesn't already own some of these albums already?
Since the albums contain no outtakes or alternate versions, the remaster is the attraction. The advice here is to arrange a test-drive: buy, or borrow, an individual disc ($18.98 list, $24.98 for the White Album and "Past Masters") to see how much difference the sound makes before setting aside a few hundred bucks for one of the boxes.
In the case of "Rubber Soul," what's striking is how the new mix let you hear each background singer with sparkling clarity. A tambourine feels like it's jingling in your ear. It sounds great. It ALWAYS sounded great, frankly. For an average person with an average sound system, the differences aren't going to make it seem like an entirely new listening experience.
What is new here are mini-documentaries on DVD, about three minutes apiece, on each album. They feature interviews with band members and producer George Martin, seemingly left over from the "Beatles Anthology" days, and some studio banter. They're all fun and occasionally enlightening. Starr described the lengthy studio sessions for "Sgt. Pepper's Lonely Hearts Club Band" by saying, "It's a fine album, but I did learn to play chess on it." Yet that mini-doc talks little about the album's epic "A Day in the Life." No time. Each piece is like a slightly elongated trailer for a show you'd like to see but doesn't exist.
The "Box of Vision" is a beautiful package, with the groundbreaking photo of the four Beatles with their faces in half shadow on the front of a box that has the size and shape of old record albums. Inside are plastic sleeves to insert copies of CDs, purchased separately, and two books.
Both are exhaustive. One lists the Beatles' complete discography, detailing the differences between British and American releases, which were substantial in the first half of the band's career, and all of the reissues. Another reproduces the album covers and all of the liner notes, including booklets of later CD releases like the "Anthology" series. It's pleasantly memory-jogging and reproduces that experience, from before the CD era, of having something substantial you can hold in your hands while listening to the albums.
All of these packages ooze class and quality. Fans must decide for themselves if it's worth paying for things they've paid for before.
Copyright 2009 by The Associated Press.
Re: Ну что, дождались! 9 сентября выходит ремастированный каталог The Beatles! Автор:kosheiДата: 10.09.09 17:33:20