Tena Koe from New Zealand. Cheers for the great review Mike. Have my 3 vinyl copy on order. Can’t wait to hear it.
Abbey Road 50th Anniversary Remix Full Review! Part 2
Placement Revisions and Mix
I’m not going to give you a “play by play” of all of the obvious placement mix revisions I noted. You can discover those for yourself (or if you buy the Deluxe CD/Blu-ray set with book, you’ll get an excellent track by track “play by play”). I’ll just note two in particular: it’s nice to have George sing “Here Comes the Sun” “standing” between the speakers rather than being shunted off to the right speaker. It’s equally pleasing to hear the harmonies spread on the stage rather than being locked into the right speaker. That doesn’t make esthetic sense so was obviously originally done due to a “bounce down” that couldn’t be revised until now.
It’s equally great if not even more excellent to get the guitar solos on “The End” spread for the first time across the stereo stage instead of being bunched in the center. On the remix Paul’s guitar is on the left, George’s is on the right and John’s is in the middle.
Like the mix on The Beatles, Martin went for and achieved a more consistent “in the pocket” well-balanced, you might say “technocratic” and orderly mix than was the original, which was a bolder, more “in your face” and inconsistent mix featuring bigger images on a wider, more spacious soundstage that left a lot of space between images and events.
Listening carefully to the original you can hear the placement of ‘satellite submixes’ that were impossible to seamlessly integrate into the whole. The reissue is far more coherent.
There’s much greater bass weight on the reissue but the top end has less (and I think desirable) “crunch”, especially to the snare drums.
I hope Ume doesn’t shut me down for this but here’s Ringo’s solo first from the new remix and then from the original U.K. pressing. Now remember I’ve been playing this record for FIFTY YEARS!!!!!! You will hear that the top end snare is all there! And there’s more of than there is on the reissue. So much for records “wearing out”!
Also here’s a type of spectral image of the original pressing and then the reissue:
They are very close but you can see the “peaky” nature of the original that gives it the “crunch”. What’s going on there at 30kHz? That’s above my pay grade. I’ll leave that to others. However you can see that “records wear out after a few plays” is just so much B.S.!
The point I want to make with all of this is that the spectral balance of the original pressing and the reissue are more similar than they are different though the original has more top end air and crunch, while the reissue has greater bottom end weight. I can understand why Ringo would prefer the tom sound on the reissue but he might be somewhat disappointed by the polite snare’s lack of “crunch” and “pop”. I kind of was. However at the same time it’s measurably clear that Mr. Martin applied only minimal “global compression” to the mix, as did Miles Showell, in his ½ speed master.—if he applied any at all.
Top:remix "Mean Mr. Mustard". Bottom: same, original pressing
I should also tell you that I sent a 96/24 file of this original version of Abbey Road to Showell at Abbey Road back in February at his request to use as a reference. He said it was okay to tell you. He also said Giles Martin did not use the files, which does not surprise me. Why would he? He had the original tape to use as a reference!It’s in My/Your DNA
If you’ve been listening to a good pressing of the original mix for decades and switch to this one you need to make a sonic adjustment to something that’s at this point almost locked into your sonic DNA. The original was cut far hotter and is therefore louder so to get the reissue “going” and make a meaningful comparison you’ll need to crank it up somewhat and be prepared for a “listening into” rather than a “coming at you” experience.
When the boxes arrived I was having a phono preamp installed and we dropped everything to listen. The immediate reaction was (and these are the words one guy used) “What happened?”
It took more than a few plays and even a reduction in tracking force on the Ortofon Anna D from 2.4 to 2.2 grams get the top end to sing and the bottom end to not be too heavy and sluggish.
When I first played the CD version in the deluxe box there was more top than on the record, but not the kind I like, and more crunch but of the “sizzle” variety. Once I’d gotten it all sorted out I was up until 1:00AM last night giving each one final play.
My conclusion about the vinyl reissue is this: aside from a few minor mysteries including why the top end cymbal sound in particular was so reserved (nor soft or dull!) throughout (the bonus album top was all there) and why, despite the more robust bottom end, Ringo’s kick drum hits on “Sun King” were both attenuated in level and lacking in the original’s distinctive “pop”. These “in the DNA” events probably stuck out more to me than to those who haven’t spend 50 years listening to this record!
Mr. Martin has again produced a worthy reissue of a classic Beatles album that improves upon the original in some ways, while diminishing it in others—especially in terms of raw, aggressive excitement and some of the original’s airy, atmospheric mystery (that’s the only way I can describe it). Yes, the crickets are from a sound effects library, but on the original you are transported outdoors. Not so on the reissue. Is that important? No. It’s just something I noticed because I’ve been noticing for 50 years the “outdoors” (even if it’s a delusion).
The reissue’s even balance and coherent spatial organization will impress even the most skeptical listener though it may take more than a few plays to “get” it. Once acclimated even lucky owners of the original U.K. pressing should find this reissue a worthwhile and enjoyable addition to their collection of Beatles vinyl.
The Bonus Tracks Rule!
The deluxe 3 LP vinyl box set includes two LPs of live takes from the sessions as well as home demos, Lennon’s “The Ballad of John and Yoko” and McCartney’s “Goodbye” home demo that became a Mary Hopkin hit that I didn’t know (so sue me). Hearing these songs performed live minus studio overdubs and embellishments is a genuine thrill and enhancement to the pleasures of listening to the finished record. Like the “Esher Demos” from The Beatles, these 2 LPs are not the kind of “play once” curiousity that often gets packaged with “the goods”. These are part of “the goods” that you will surely play repeatedly and maybe even sing along with when the space for vocals opens up.
The Deluxe 3 CD, one Blu-ray, Perfect Bound Book Edition
While the vinyl box includes a useful fold over “one-sheet” that describes in reasonable detail the outtakes and other bonus material, the deluxe CD/BD box set includes a “no expense spared” 12”x12” hard covered book every Beatles fan and Abbey Road aficionado will want to have. If I sound like a Ume salesperson, deal with it. The four discs (3 CDs, one Blu-ray) are included in pockets die cut into the inside front and back jacket.
I did listen to the CDs (which in addition to the CD resolution mix include the same outtakes and bonus material as what’s on the LPs) and I played the Blu-ray on my home theatre system. It includes the 96/24 full resolution files that I’ll have to get a computer BD drive to extract, as well as DTS-HD and Dolby Atmos surround mixes. Call me old fashioned, or go ahead and just call me old, these didn’t do much for me compared to the plain old stereo remix. But that’s just me.
The book includes “The Route to Abbey Road”, Kevin Howlett’s essential essay accompanied by photos you will want to see, adds historical perspective plus a wealth of interesting and useful information about the album, The Beatles and those final months. That’s followed by a super-detailed Track by Track description that adds so much worthwhile information your head is likely to explode, with yet more incredible photos and finally an “And In the End” essay that puts a satisfying capper on the entire “life in the day” of The Beatles.
As with the group’s break up, when you’ve completed reading the book and looking at the pictures you’ll feel somewhat lost and perhaps feel sorry it’s come to an end but happy to have been along for the ride and even happier that you can rinse and repeat as often as you wish.
Nothing in the book explains how this happened or who moved it, so that mystery remains unsolved. There’s always more.
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COMMENTS
Beatles forever
Submitted by Steelhead on Fri, 2019-09-27 23:23
I was definitely in the why even do it with any digital processing if you have already have it in analog. After buying the cd version of My Morning Jacket Waterfall album and digging it so much I bought the album version (45 rpm) and doing the old comparison thing I have to say that to this guy the vinyl was superior to my ears and personally very glad I bought the vinyl version even though I had it on cd.
As for the Beatles, well at my age it is not even close, just to have the outtakes alone make it a must buy for me. LOVE the alternative takes on the White Album and so glad I bought it. Giles is doing his daddy proud.
But of course at my age I would rather hear the Beatles playing around rather than listen to 87 percent of what ever is new.
Just to have the outtakes on vinyl make this a must purchase for me.
Sounds like a modern recording to my ears
Submitted by DrJB on Sat, 2019-09-28 01:00
I listened to the vinyl disc just a few minutes ago and it sounded really sweet on my system. I observed slightly less treble and a smoother, more burnished top end; in other words, it sounded like it was mixed and mastered in 2019, not 1969. It's a very modern sounding recording with the telltale signs of a modern DAW-based mixing and mastering system augmented with some very classic-sounding outboard analog gear. From an audio engineer's perspective, it sounds like it should for this era.
I'm listening on a VPI Prime Scout w/3D arm; Grado low output Statement Master 2; Sutherland pho pre; Yamaha 100 w/ch Intie; BW 705 s2 speakers; REL T/i7sub.
I'll listen to it through my mixing desk on my Universal Audio/Focal studio system tomorrow.
By the way, can someone tell me why the kick and snare are mostly panned hard left and right in the DTS and Atmos mixes? Makes no sense since they had 8 track tapes and modern computer workstation. Am I missing something? (speaking of which, "Something" had the kick and snare centered).
A little too much compression
Submitted by dreamweaver on Sat, 2019-09-28 13:12
I loaded Come Together into iZotope RX and didn't really like what I saw. Could have used a little less compression. Also the balance between Lennon's vocal and the backing instruments are not ideal. Much too often, the instruments overwhelm the vocal, rather unrealistic and un-60's to me.
didnt like what I SAW
Submitted by gbougard on Tue, 2019-10-01 00:01
how about telling us what you HEARD
I HEARD a little too much
Submitted by dreamweaver on Tue, 2019-10-01 02:40
I HEARD a little too much compression. To confirm it, I used iZotope RX to check. I don't like music with too much compression.
Where is it pressed and and which one is better?..
Submitted by Macman007 on Sat, 2019-09-28 17:22
Where is the single LP (not the picture disc) being pressed, at QRP here in the US, or at Optimal in Germany? On the 3 lp deluxe box the sticker says pressed at Optimal in Germany. Which plant would be recommended for the best sound quality and why? It's down to either, I'm split down the middle and can't find a consensus of which one between the two.
The Super Deluxe digital box is a no brainer, you get what everyone else receives regardless. The QRP pressing makes me nervous, other albums pressed there don't always get good reviews and I haven't found a consensus and explanation posted online anywhere. Thanks!
Returned Vinyl Today.
Submitted by Stephen needam on Sat, 2019-09-28 17:37
Hated the new mix. Played it 3 times and just couldn’t adjust to it. It sounded cold and lacked the warmth of my early 69 Pressing (not first Pressing) maybe I am just too used to it sounding that way. What have they done to some of the vocals? They seem echoey compared to my 69 Pressing. Not impressed at all.
*Played on Technics SL-1200G with Ortofon Black cartridge, VPI voyager and Klipsch 4000F Speakers.
Here Comes The Sun
Submitted by Stephen needam on Sat, 2019-09-28 17:47
Sorry forgot to add, why bring the mellotron at the beginning higher in the mix, sounds like a children’s version. It was low in the mix for a reason, it complimented the guitar lower in the mix, now it's equal to the guitar and sounds cheesy.
Is it a..?
Submitted by Macman007 on Sat, 2019-09-28 17:50
Is it a Mellotron or an early Moog? Pretty sure I read somewhere that George was playing with then then new and rare Moog for the first time in the studio.
Is it a Mellotron or an early Moog
Submitted by Stephen needam on Sat, 2019-09-28 18:47
Not 100% sure, thought it sounded like a mellotron. All I am sure is that it doesn’t belong high in the mix.
Here Comes The Sun
Submitted by dreamweaver on Sun, 2019-09-29 07:49
A Moog Synthesizer. Yes in the original version, the synthesizer compliments the guitar. In this 2019 version, it is the opposite but I definitely believe the guitar is the main instrument, not the synth.
Too much high EQ applied on the guitar and the overall mix has too much bass and drums sound too loud. It sounds almost like a rap song. Guess this is for the younger generation.
Again, too much compression. Yes, for the younger generation.
Pressing Plant
Submitted by rakalm on Sat, 2019-09-28 18:29
I may have missed where these were pressed.
AR
Submitted by swimming1 on Fri, 2019-10-04 16:17
Just received the 3 lp box.Listened to it 3 or 4 times waiting for an epiphany.None yet. I have a first or second UK pressing which is very nice,maybe that's why I'm not impressed.Well Mikey warned us! The outtakes are ok sort of annoying actually, other than the ballad of John and Yoko. But is that worth $85? Dunno yet? Already have 4 or 5 copies of various pressing. Might even return it to Amazon! It's nice if you've never heard a real original UK copy. Probably won't listen toth outtakes more than a couple of times. Cheers,Chet
On The Fence
Submitted by Celtic Bob on Sun, 2019-09-29 04:32
I was not alive when Abbey Road was released. I became a fan in the 80's. I own the 80's CD's, mono box (CD), Stereo box (CD), mid 80's LP's, the latest vinyl pressings (mono from PPM to White, Stereo for LIB & AR). I also picked up the 2LP Pepper and 4LP White Giles editions. I am on the fence for this one. Apart from mixed reviews it is over 100$ for 3LP's here in The Great White North. I would like to have the "Bonus" material and hear the Giles mix outside my Press Advance D/L of it which sounds pretty good upon a quick listen.
I would love to own/hear a UK original but that is not possible so I have to stick with what I have for now. I do not own a system that cost in the 5 figures let alone 6. I am happy with what I have. I cannot justify over 100 for 3 LP's.
Cheers
b.
QRP vs. Optimal, single vs. box set
Submitted by rodercot on Sun, 2019-09-29 14:16
Michael, So I bought both, first thing with the qrp I had to ream the spindle hole to fit my CL table, the optimal slipped right on. Both lp's were pristine in condition and not a mark on either. I am listing on a CL Performance DC, with a satisfy carbon tonearm, with a Hana ML cart, Mac C2500 gold lion tubes, MAC MC601, cardas neutral reference cables and SF Sonetto VIII speakers. I have to listen again to both a few times! My initial thoughts are I am hearing more detail in the optimal press. The walkdown of the voices on Oh Darling on the QRP seems muffled at the bottom of the run, The optimal sounds detailed to the end of the run, The optimal IMO is tighter and more controlled on the bottom and with a lower noise floor. Overall I think the timbre is cleaner on the Optimal and a wider stage, and very detailed across the entire record. I am listening to the single again right now for the third time, It sounds almost muddy or wishy washy and just lacking that little bit more on the top! All this imo of course, you will all hear your own things, and systems, and accessories will all play a part in the outcome. I am adding no eq, and tone bypass is on, and I am loading my cart at 100 ohms. But it is AR, anytime you get to listen the fab 4 is a great day! Cheers, Dave
Abbey Road: Anniversary Vinyl Review.
Submitted by David Martin on Sun, 2019-09-29 18:36
Is the TG12345 MK1 the reason why some well respected members of the audio community and, Beatle People agree that Abbey Road is the superior sounding of all Beatle recorded output? This was the only time a solid state transistor mixing desk was used start to finish for a recording project. Question for the Editor: Do all Abbey Road U.K. pressings have H.T.M. (Harry T. Moss) inscribed on side 2's inner groove? Also, is there a Bell Sound SF Capitol press of Abbey Road? With regard to my last post, I had hoped to provide an upload of my home studio cover of George's "Here Comes The Sun" but, could not locate a link to my files ("Come here IT, I need you"). For those interested in a "Musical Sojourn" can locate Here Comes The Sun/Guitar Song, @ YouTube or, your favorite subscription provider on your device. LMW (77)IF, Dave M.
What, EVERYONE missed it?
Submitted by MefLiszto on Mon, 2019-09-30 08:00
On both the Vinyl fold-over and the CD book, the blue title page says this:
THE BEATLES
THE ABBEY ROAD
None of the box opening videos I've seen on YouTube even mention this. What say you all? Have anyone ever seen it written as "The" Abbey Road?
digital hi-res versions and CD are all different
Submitted by firedog on Mon, 2019-09-30 08:42
Hi-
I've compared the Bluray stereo hi-res rip to the CD streaming version and the hi-res streaming version, as well as the HDTracks 24/96 download.
The 24/96 from the streaming (Qobuz) and the HDTracks seem to be the same version. And the CD seems to also be from that mastering.
But the BR stereo rip is different: it's noticeably not as loud, and sounds a little more like the older versions of the album. The measured DR of the BR is less than the hi-res download/hi-res steaming, and when listening to "Come Together", the measured peak db level on playback is about 3db less on the BR rip.
It's pretty clear the streaming version and the BR version aren't from the same master. The BR version is what I'd call the "audiophile" version for the digital.
US pressing
Submitted by Hefeman on Mon, 2019-09-30 15:20
Identified my copy of Abbey Road as a first US Jacksonville pressing. I agree that the only thing interesting about this release is the cover and label. Weak sauce mix. Compared this with 2011 CD and new CD by listening to Here Comes The Sun many times. The biggest discovery was how much joy each subsequent listening provided.
My findings in a nutshell. I can't recommend the vinyl. Wish I could hear a UK pressing. 2011 CD remains truthful to original mix, including GM's 65-like mix with vocals panned right and instruments left. 2019 mix splits everything out across soundstage. Both CD mixes beef up the bass.
So I lean towards the new mix. However, there's something pleasing about Martin's weird 65 mix. The space allows instrumental things to stand out, though the mix calls attention to itself. Thinking the 5.1 mix could bring some of that out and be my favorite. That said, not expecting much based on previous surround mixes. Hope to hear it someday.
Very well done!
Submitted by Slammintone on Thu, 2019-10-03 19:54
I bought the single anniversary LP and the 3cd-1 blu ray set with the book today. I too found the cd for the studio album a little bright but not unobjectionably so. The bass is strong, the voices separation front to back are the most interesting things for me because they are so much more clearly heard than any version I've listened to before. Lennons voice near the beginning of I Want You was really a stand out moment on this mix for me.
I like the LP version much better on my system (VPI Prime, Hana SH, JC3+, Pass X250). The bass is even more pronounced and the harshness replaced with warmth and delicacy on top. But my pressing is very noisy, like it's got a dried liquid substance baked into the grooves, so it's going to be replaced.
Overall this new mix slays my previous favorite version the old Mobile Fidelity LP from the 70s. All the detail and information in the mid range that is on the new mix is only hinted at on the MOFI although being a bass head, I still love the boosted big bass and punchy drums from that album.
Apart from that, the new mix isn't terribly different from the original versions I've owned. I like it and it was tastefully done.
So, is this the Capital/QRP pressing?
Submitted by JayTrez on Sun, 2019-10-06 09:52
Michael,
Is this new reissue the same as the 180g Capital/QRP pressing on Acoustic Sounds? Same description. Also, any difference between black vinyl or picture disk?
JayTrez
A few comments re: the UK pressing
Submitted by mb on Wed, 2019-10-09 18:27
The black inner sleeve with the UK pressing wasn’t “first”. Nor was the “misaligned” Apple jacket (or the labels without “Her Majesty”). Both inner sleeves (black & white), both jackets (misaligned & aligned) and both labels (w/ & w/o Her Majesty) were available upon release and there is little rhyme or reason to them. All combinations of the three can be found. Some are less common than others, but none are “rare”.
And the Apple on the jacket isn’t really misaligned per se. Notice that the front and back photos were more closely cropped on the “misaligned” jackets - with the Apple aligned with photos. But the song titles and credits were added after the cropping. So really everything is misaligned with the typeset.
How and why did this happen? I don’t know for certain but I assume the simplest answer - a printer error for a batch(s) of sleeves - is probably the correct answer.
As for the “first” and “later” pressings, this is a mostly meaningless distinction. They were pressing 10’s of thousands of pressing every day before release - using randomly selected mothers and stampers. While it might technically be a “later” mother or stamper, there is no way to determine if it was the first or last pressing from that stamper. I’ve seen lots of confirmation bias - particularly with UK Beatles LPs - with “the earlier pressing was better” over the years (you rarely hear somebody say “the pressing from the later mother was better...”) when the reality is it was just mass production with parts used at random (which is why you see pressings with completely dissimilar mothers and stampers).
A point of contention?
Submitted by mendps on Fri, 2019-10-11 16:06
Your comment..."No wonder when the group officially broke up in April of 1970 when Paul publicly called it quits (Lennon left around the time of Abbey Road’s release in September of 1969)"...I mostly agree with, however, John didn't really leave - mentally and internally perhaps - but not physically as he and the others continued to report for Apple Corps duty at 3 Savile Row well into the spring of 1970. Lennon's internal verbal announcement of his desire to leave the group in 1969 does not jibe with his subsequent actions, in my opinion.
Out of All the Abbey Road pressings
Submitted by Russo7516 on Sat, 2019-10-12 07:46
Mike which do you this is the most stellar pressing of this LP
MFSL 1979 pressing
Submitted by Kokomo O on Mon, 2019-10-14 08:05
Why has there been no discussion of the MFSL 1979 pressing? To me, that one solves the low end issues and preserves the top end, having been produced only ten years after the recording, well before any significant tape deterioration would have set in.
Please review QRP vs Optimal!
Submitted by chbooth on Mon, 2019-10-21 13:25
Hi Michael. I really appreciate this review. I personally also found that repeat listenings were critical. At first, my ears just didn't "unlock" this mix, but once they did, I really enjoyed it, on the whole. A few things I didn't like, but not enough to keep me from listening to this mix as my main one (I don't own a first UK pressing).
That said, I purchased the delux BR set and the single record. As you surmised, my digital player isn't the greatest, and I prefer the vinyl. My setup isn't super nice, but nice! (Rega Planar 25, Classe 50, Paradigm S2 speakers, Shure M97Xe cartridge).
In any case, I'm mostly commenting to remind you ;) to do the QRP vs. Optimal review you mentioned you'd do in the video. I'm very curious what you think and don't want to buy the 3-LP version to find out for myself!
Quality Records
Submitted by RWRichmo on Fri, 2020-06-12 12:15
Michael-
Late to the conversation and I may have missed this, as the earlier discussions just became too much to follow, but have you compared the Quality Records pressing to the remastered boxed edition? I'm a big fan of Quality Recording pressed albums in general and wonder if it's as much better than the standard version in this case as most of their pressings are.
Back to 1st pressing
Submitted by simes_pep on Thu, 2020-10-01 09:51
I thought I was doing ok with the MoFi pressing of AR bought early 00’s and the 24/44 FLAC files, but your review of the reissue has prompted me to go get a 1st pressing (Black inner sleeves) and once cleaned, wow.
Amazing.
Since then Mono Revolver, Mono Sgt Pepper, Mono White have all been procured, cleaned and enjoyed.
Many thanks, Simon
Excellent
Submitted by casscarr2005 on Thu, 2022-04-07 17:07
Late to the game here (second round of Vinyl fun for me). After a 20+ year hiatus from Vinyl I'm back in the game and picked this Anniversary edition up (also a new Beatles fan for life now). I love the album and have my 2 young boys interested as well. I can't comment on the comparisons unfortunately but I do really appreciate what I hear from this vinyl. Thanks Michael for your hard work !!
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