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What is the first true stereo album?
11 February 2013
2.52am
Ron Nasty
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I noticed in the "Ranking Past Masters" a discussion emerging about Beatles mono and Beatles stereo. We all know there are differences. I do not understand those who say they only went stereo in 1969 though. If I had to name the first true stereo Beatles, as they intended it to be heard, it would have to be The White Album. Much as I love the mono, it was largely rough mono mixes made as they went along. The twenty-four hour session at the end of the recordings was used on perfecting the stereo mix. When you go through the log, it was the stereo mixes that were worked on and the mono mixes that early rough mixes were used. That would make, much as I love the mono White Album, THEIR first stereo album. What do you think?

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11 February 2013
3.01am
Egroeg Evoli
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I agree with you, but right now, the only thing that comes to mind is Revolution 9, with the noise switching from left to right etc. And if I'm way off, I'm sorry, I'm not good with techinical recording stuff.

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11 February 2013
3.10am
Ron Nasty
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The difference between the mono (earlier mix) and stereo (later mix) of Helter Skelter would be an obvious difference between the two. Mono about a minute shorter and no blisters on fingers!

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11 February 2013
5.08pm
vonbontee
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I've always been of the opinion that, regardless what they say, SPLHCB was the first sign that they were looking ahead to the possibilities offered by stereophonic sound - specifically, the full-spectrum panning of the "infamous" section of "A Day In The Life" and of the animals in"Good Morning Good Morning".

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11 February 2013
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Egroeg Evoli
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a-hard-days-night-ringo-8 Oh, that's a good point, too.

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11 February 2013
8.42pm
Ron Nasty
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vonbontee said
I've always been of the opinion that, regardless what they say, SPLHCB was the first sign that they were looking ahead to the possibilities offered by stereophonic sound - specifically, the full-spectrum panning of the "infamous" section of "A Day In The Life" and of the animals in"Good Morning Good Morning".

I love the stereo Pepper. Prefer it to the mono. The trouble with claiming it as the first album where their attention was on the stereo mix, rather than the mono, is that they were not there for the stereo mix sessions. Paul left the country the day before the first stereo mix session, and didn't return until after the master had been delivered to EMI. I think the stereo Pepper showed them the possibilities, but it was not until the White Album that their energy switched from mono being the album and stereo an afterthought, to stereo being the album and mono the afterthought.

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12 February 2013
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Gerell
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The early stereo mixes in my opinion were badly panned. The White Album sounds bearable in Stereo . Although Abbey Road and Let it Be can be considered as the same calibre as today's stereo mixes nowadays (in terms of mixing and not music)

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25 February 2013
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DrBeatle
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Gerell said
The early stereo mixes in my opinion were badly panned. The White Album sounds bearable in Stereo . Although Abbey Road and Let it Be can be considered as the same calibre as today's stereo mixes nowadays (in terms of mixing and not music)

This is my opinion as well. Not only do I prefer the mono mixes of all of the albums, but I prefer Sgt. Pepper and the White Album in mono.

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3 July 2014
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Von Bontee
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Ron Nasty said

vonbontee said
I've always been of the opinion that, regardless what they say, SPLHCB was the first sign that they were looking ahead to the possibilities offered by stereophonic sound - specifically, the full-spectrum panning of the "infamous" section of "A Day In The Life" and of the animals in"Good Morning Good Morning".

I love the stereo Pepper. Prefer it to the mono. The trouble with claiming it as the first album where their attention was on the stereo mix, rather than the mono, is that they were not there for the stereo mix sessions. Paul left the country the day before the first stereo mix session, and didn't return until after the master had been delivered to EMI. I think the stereo Pepper showed them the possibilities.

That's interesting, their absence during the stereo "Pepper" mixing. I wonder whose idea it ultimately was to do the animal-panning that way: George Martin or Geoff Emerick taking a bit of creative liberty? Or was it suggested beforehand by John along with the ordering of the animals in the sound-collage?

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