Here is a press release about the process. They really didn't do much in terms of retouching the music. They didn't remix the tracks for instance. But you have to re-master the analog sounds to digital and what they've done is to bring out the warmth of the analog in a digital format. The mono mixes are the ones that will sound the best as those were the mixes the Beatles themselves spent time doing while they left the stereo mixes to EMI's technicians. If you listen to the remastered Yellow Submarine release or the Love release, it's amazing how full and powerful the sound is. This release is going to be the yard stick for re-mastered releases of older recordings.....
Re-mastering the Beatles catalogue
The re-mastering process commenced with an extensive period conducting tests before finally copying the analogue master tapes into the digital medium. When this was completed, the transfer was achieved using a Pro Tools workstation operating at 24 bit 192 kHz resolution via a Prism A-D converter. Transferring was a lengthy procedure done a track at a time. Although EMI tape does not suffer the oxide loss associated with some later analogue tapes, there was nevertheless a slight build up of dust, which was removed from the tape machine heads between each title.
From the onset, considerable thought was given to what audio restorative processes were going to be allowed. It was agreed that electrical clicks, microphone vocal pops, excessive sibilance and bad edits should be improved where possible, so long as it didn’t impact on the original integrity of the songs.
In addition, de-noising technology, which is often associated with re-mastering, was to be used, but subtly and sparingly. Eventually, less than five of the 525 minutes of Beatles music was subjected to this process. Finally, as is common with today’s music, overall limiting - to increase the volume level of the CD - has been used, but on the stereo versions only. However, it was unanimously agreed that because of the importance of The Beatles’ music, limiting would be used moderately, so as to retain the original dynamics of the recordings.
When all of the albums had been transferred, each song was then listened to several times to locate any of the agreed imperfections. These were then addressed by Guy Massey, working with Audio Restoration engineer Simon Gibson.
master tapes during the equalization process. When an album had been complMastering could now take place, once the earliest vinyl pressings, along with the existing CDs, were loaded into Pro Tools, thus allowing comparisons to be made with the original eted, it was auditioned the next day in studio three - a room familiar to the engineers, as all of the recent Beatles mixing projects had taken place in there - and any further alteration of EQ could be addressed back in the mastering room. Following the initial satisfaction of Guy and Steve, Allan Rouse and Mike Heatley then checked each new re-master in yet another location and offered any further suggestions. This continued until all 13 albums were completed to the team’s satisfaction
Well, this doesn't sound too heinous. Still, though.... I find some of the imperfections of original recordings part of their character- like the hiss and crackle on the old Robert Johnson recordings. And yeah, I know- the stuff I had was mainly from CDs and MP3s and by their nature, you lose the original sound quality.
But I feel like if someone want to do the true audiophile thing, any remastering that is done should be done solely to restore the tapes to their original condition (such as hiss/crackles from oxidation or dust on the tape) and not remove any real or perceived imperfection from the actual recording.
Click to view
Re-mastering the Beatles catalogue
The re-mastering process commenced with an extensive period conducting tests before finally copying the analogue master tapes into the digital medium. When this was completed, the transfer was achieved using a Pro Tools workstation operating at 24 bit 192 kHz resolution via a Prism A-D converter. Transferring was a lengthy procedure done a track at a time. Although EMI tape does not suffer the oxide loss associated with some later analogue tapes, there was nevertheless a slight build up of dust, which was removed from the tape machine heads between each title.
From the onset, considerable thought was given to what audio restorative processes were going to be allowed. It was agreed that electrical clicks, microphone vocal pops, excessive sibilance and bad edits should be improved where possible, so long as it didn’t impact on the original integrity of the songs.
In addition, de-noising technology, which is often associated with re-mastering, was to be used, but subtly and sparingly. Eventually, less than five of the 525 minutes of Beatles music was subjected to this process. Finally, as is common with today’s music, overall limiting - to increase the volume level of the CD - has been used, but on the stereo versions only. However, it was unanimously agreed that because of the importance of The Beatles’ music, limiting would be used moderately, so as to retain the original dynamics of the recordings.
When all of the albums had been transferred, each song was then listened to several times to locate any of the agreed imperfections. These were then addressed by Guy Massey, working with Audio Restoration engineer Simon Gibson.
master tapes during the equalization process. When an album had been complMastering could now take place, once the earliest vinyl pressings, along with the existing CDs, were loaded into Pro Tools, thus allowing comparisons to be made with the original eted, it was auditioned the next day in studio three - a room familiar to the engineers, as all of the recent Beatles mixing projects had taken place in there - and any further alteration of EQ could be addressed back in the mastering room. Following the initial satisfaction of Guy and Steve, Allan Rouse and Mike Heatley then checked each new re-master in yet another location and offered any further suggestions. This continued until all 13 albums were completed to the team’s satisfaction
Reply
But I feel like if someone want to do the true audiophile thing, any remastering that is done should be done solely to restore the tapes to their original condition (such as hiss/crackles from oxidation or dust on the tape) and not remove any real or perceived imperfection from the actual recording.
Reply
Leave a comment