Beatles

REMASTERING THE BEATLES' ORIGINAL STUDIO ALBUMS FOR VINYL.<br/>180 gram. <br/><br/>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 brief 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.<br/><br/>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. <br/><br/>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. <br/><br/>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 original 24-bit remasters rather 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. <br/><br/>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.<br/><br/>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.<br/><br/>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. <br/><br/>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.

Beatles: From us to you #2 March 1964 EP [Vinyl 7"]

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: 'Red' has 12 additional tracks, including for the first time some of George Harrison's earliest songs and some classic Beatles versions of R&B and rock 'n' roll hits that were so influential on the band. 'Blue' has 9 additional tracks including "Blackbird" and "Glass Onion" including the last new Beatles song, "Now And Then" for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a 'new' LP for each set.<br/><br/>Together the 6LP's contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 - 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles' timeless musical legacy.

Fredag den 3 november kl. 15.00 släpper The Beatles deras sista singel "Now And Then" (Apple Corps Ltd./Capitol/UMe). "Now And Then" är skriven och sjungen av John Lennon i slutet av 1970-talet. De tre då kvarstående medlemmarna Paul McCartney, George Harrison och Ringo Starr fortsatte att utveckla och arbeta på låten under 90-talet och nu är den äntligen färdigställd av Paul och Ringo över fyra decennier senare.<br/><br/>Historien om "Now And Then" började i slutet av 1970-talet, när John spelade in en demo med sång och piano i sitt hem i New York. 1994 gav Yoko Ono Lennon inspelningen till Paul, George och Ringo, tillsammans med Johns demos för "Free As A Bird" och "Real Love", som båda färdigställdes som nya Beatles-låtar och släpptes som singlar 1995 och 1996, som en del av The Beatles Anthology-projektet. Samtidigt spelade Paul, George och Ringo också in nya delar och gjorde en grov mix för "Now And Then" med producenten Jeff Lynne. "Now And Then" lades på hyllan, med en förhoppning om att den en dag skulle slutföras.<br/>Klipp till 2021 och släppet av dokumentserien "The Beatles: Get Back", regisserad av Peter Jackson, som förvånade tittarna med sin prisbelönta film- och ljudrestaurering. Jacksons team hade mixat om filmens monosoundtrack och lyckades isolera instrument och sång samt alla individuella röster. Denna prestation öppnade vägen för 2022:s års nya mix av "Revolver", hämtad direkt från fyraspårs mastern. Detta ledde till en fråga: vad kunde nu göras med "Now And Then"-demon? Peter Jackson och hans ljudteam, ledda av Emile de la Rey, tillämpade samma teknik på Johns original hemmainspelning och lyckades bevara klarheten och integriteten i hans ursprungliga sångframförande genom att separera det från pianot. <br/>Under 2022 började Paul och Ringo färdigställa låten. Förutom Johns sång innehåller "Now And Then" elektrisk och akustisk gitarr inspelad 1995 av George, Ringos nya trumparti och bas, gitarr och piano från Paul, som matchar Johns original. Stråkarrangemang skrivet av Giles Martin, Paul och Ben Foster har adderats. Låten är producerad av Paul McCartney och Giles samt mixad av Spike Stent.<br/>- There it was, John's voice, crystal clear. It's quite emotional. And we all play on it, it's a genuine Beatles recording. In 2023 to still be working on Beatles music, and about to release a new song the public haven't heard, I think it's an exciting thing säger Paul.<br/><br/>- It was the closest we'll ever come to having him back in the room so it was very emotional for all of us. It was like John was there, you know. It's far out berättar Ringo.<br/>- Back in 1995, after several days in the studio working on the track, George felt the technical issues with the demo were insurmountable and concluded that it was not possible to finish the track to a high enough standard. If he were here today, Dhani and I know he would have whole-heartedly joined Paul and Ringo in completing the recording of 'Now And Then' säger Olivia Harrison.<br/>- It was incredibly touching to hear them working together after all the years that Dad had been gone. It's the last song my dad, Paul, George and Ringo got to make together. It's like a time capsule and all feels very meant to be berättar Sean Ono Lennon.

4LP+7-inch EP (stereo & mono audio) on half-speed mastered 180-gram vinyl with 100-page <br/>hardbound book in a 12.56" x 12.36 slipcase. <br/><br/>DISC 1: Revolver (New stereo mix): 14 tracks.<br/>DISCS 2 & 3: Sessions (stereo & mono): 31 tracks.<br/>DISC 4: Revolver (Original mono master): 14 tracks.<br/>DISC 5: Revolver EP: 4 tracks - "Paperback Writer" & "Rain" (New stereo mixes & Original mono mixes remastered).<br/><br/>The Revolver album's 14 tracks have been newly mixed by producer Giles Martin and engineer Sam Okell in stereo and Dolby Atmos, and the album's original mono mix is sourced from its 1966 mono master tape. Revolver's sweeping new Special Edition follows the universally acclaimed remixed and expanded Special Editions of Sgt. Pepper's Lonely Hearts Club Band (2017), The BEATLES ('White Album') (2018), Abbey Road (2019), and Let It Be (2021). <br/> <br/>All the new Revolver releases feature the album's new stereo mix, sourced directly from the original four-track master tapes. The audio is brought forth in stunning clarity with the help of cutting edge de-mixing technology developed by the award-winning sound team led by Emile de la Rey at Peter Jackson's WingNut Films Productions Ltd.<br/><br/>The Super deluxe collection also feature the album's original mono mix, 28 early takes from the sessions and three home demos, and a four-track EP with new stereo mixes and remastered original mono mixes for "Paperback Writer" and "Rain".

The 'Let It Be' album has been newly mixed by producer Giles Martin and engineer Sam Okell in stereo. All the new 'Let It Be' releases feature the new stereo mix of the album as guided by the original "reproduced for disc" version by Phil Spector and sourced directly from the original session and rooftop performance eight-track tapes. The Super Deluxe collections also feature 27 previously unreleased session recordings, a four-track 'Let It Be' EP, and the never before released 14-track 'Get Back' stereo LP mix compiled by engineer Glyn Johns in May 1969. Additionally, the Super Deluxe editions feature a 100 page hard-back book with an introduction by Paul McCartney, extensive notes and track-by-track recording information and many previously unseen photos, personal notes, tape box images and more. The Super Deluxe Vinyl Special Edition slipcase box set houses 4 LPs, a 12" EP, and a 105-page hardbound book in slipcase.

REMASTERING THE BEATLES' ORIGINAL STUDIO ALBUMS FOR VINYL.<br/>180 gram. <br/><br/>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 brief 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.<br/><br/>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. <br/><br/>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. <br/><br/>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 original 24-bit remasters rather 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. <br/><br/>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.<br/><br/>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.<br/><br/>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. <br/><br/>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.