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9.01am
11 September 2018
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@meanmistermustard How much of the outtakes on the 50th anniversary are duplicated on Anthology 3 ?
9.06am
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17 December 2012
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Well, the Beatle who blocked Carnival Of Light being released on Anthology 2 was George, with Ringo and Yoko said not to be too keen either.
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
9.53am
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20 August 2013
Offline How many times can they get us to buy it?
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10.09am
27 March 2018
Offline Billy Rhythm said
meanmistermustard said
Apple should have the balls to stick on take 3 of ‘Helter Skelter ‘It’s obviously being blocked from ever getting out, probably by the same Beatle who classified ‘Carnival Of Light ‘ to be Top Secret…:-)
I think both Helter Skelter (take 3) and Carnival Of Light should be included on a separate release, along with some 1967 studio jams in a collection of the Beatles at their most ‘experimental’ side…
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The Hole Got Fixed10.56am
28 August 2018
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I’m curious what everyone thinks of the new 2018 mix released for Back In The U.S.S.R? I like it quite a bit and it sounds very modern. The vocals and bass are obviously brought up in the mix. Only disappointing bit is that some folks on the Hoffman forums have pointed out that there is some nasty compression on the track.
10.57am
27 March 2018
Offline J Alesait said
I think both Helter Skelter (take 3) and Carnival Of Light should be included on a separate release, along with some 1967 studio jams in a collection of the Beatles at their most ‘experimental’ side…
But I’m beginning to think the only thing about the 27-minutes version of Helter Skelter is its duration, and it’s probably not a good performance. There was no reason for them to record a track of such length, unless they would edit it down later to its best parts.
We’ll agree that sheer length is not enough reason for Apple to release a track.
11.14am
27 March 2018
Offline laytonrushing said
Only disappointing bit is that some folks on the Hoffman forums have pointed out that there is some nasty compression on the track.
Compression is almost compulsory these days, and there’s nothing to be worried about, for at least two reasons: first, you can always listen to the original mix; second, it prevents the remixed tracks from sounding ‘too weak’ alongside music recorded more recently, specially on streaming services which are now so popular.
11.25am
28 August 2018
Offline J Alesait said
laytonrushing said
Only disappointing bit is that some folks on the Hoffman forums have pointed out that there is some nasty compression on the track.Compression is almost compulsory these days, and there’s nothing to be worried about, for at least two reasons: first, you can always listen to the original mix; second, it prevents the remixed tracks from sounding ‘too weak’ alongside music recorded more recently, specially on streaming services which are now so popular.
Obviously I can listen to the original mix anytime I want. That’s why I am excited to see an entirely new mix, so it’s not crazy to be worried about possible flaws in the new mix. And I don’t see why needlessly compressing the mix to be more like other music on a streaming service is a good thing?
Luckily the vinyl will most likely have less compression, as that was the case with the Sgt. Pepper 50th release last year.
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Beatlebug12.00pm
27 March 2018
Offline laytonrushing said
And I don’t see why needlessly compressing the mix to be more like other music on a streaming service is a good thing?
I’d say it’s neither a good nor a bad thing. It’s simply the way popular music is mastered nowadays. Had the Beatles had today’s technology back then, I’m sure they would have used it. And I’m also sure Giles Martin and Sam Okell have used tastefully.
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27 November 2016
Offline Disagree completely @J Alesait for the reasons perfectly summed up by this video: (it features a McCartney track!)
You lose the clarity, and the feel.
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5.26pm
27 March 2018
Offline The Hole Got Fixed said
Disagree completely @J Alesait for the reasons perfectly summed up by this video: (it features a McCartney track!)You lose the clarity, and the feel.
I see the point, but the example you’ve provided is an extreme which I’m sure Giles Martin won’t get to. Moreover, it shows compression applied at mastering stage, to the whole mix, whereas at mixing stage you can apply it on individual tracks and on a more subtle way. The main thing here, we should not forget, is to get a good and clearer stereo mix, working properly on each isolated track, and devoting all the time and effort a stereo mix deserves, which wasn’t the case back in the sixties.
5.35pm
Moderators
27 November 2016
Offline And I agree with that.
I’m simply wary that they might do the same amount of compression as they did on Penny Lane in 2016(?), which is very audible.
Compression at the mixing stage is good, it can make everything clearer and generally you can’t tell (hell, even I use it at the mixing stage!) but in the mastering stage it’s really bad because it serves no purpose other than to destroy the fidelity.
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6.52pm
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1 May 2011
Offline Tracks already on Anthology 3
Esher Demos
Mean Mister Mustard
Junk
Honey Pie (Edited)
Outtakes
Rocky Raccoon (Take 8)
Helter Skelter (Take 2 – Edited)
Not Guilty (Take 102 – Edited)
Step Inside Love/Los Paranoias (the latter edited)
It appears the edited tracks will now be complete, however, ‘Not Guilty ‘ and ‘SIL’/’LP’ are already available on bootlegs in their unedited states (‘Not Guilty ‘ on ‘Anthology 3 ‘ is one the worst edits and remixes ever suffered by a song).
Should also be noted that so much of what is being released has never been booted.
Looking at the Blu-ray there is
- PCM Stereo (2018 Stereo Mix)
- DTS-HD Master Audio 5.1 (2018)
- Dolby True HD 5.1 (2018)
- Mono (2018 Direct Transfer of ‘The White Album ’ Original Mono Mix)
I have no what all that means but do we really need 5 different mixes of the same album (4 if one of those is the same as on the CD’s)? If space is an issue, tho I don’t see why it would be, I’d rather trade one of the first three for a collection of the best of the rest of the outtakes. Hopefully, there are one or two easter eggs on included to make it more rewarding – tho no doubt some audiophiles are dribbling at these.
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7.28pm
Moderators
27 November 2016
Offline 5.1’s mean more separation , and more separation mean more chance of working some audio wizardry to try to extract multitracks.
But we don’t need 2 5.1 mixes!
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7.31pm
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17 December 2012
Offline I would say it’s three mixes of the album across the discs, @meanmistermustard. The 2018 stereo being on the first two discs and as PCM [Post-code modulation] Stereo on the Blu-Ray; 5.1 on the Blu-Ray, DTS-HD Master Audio and its competitor Dolby TrueHD, but both the same mix; the original mono.
"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
8.00pm
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1 May 2011
Offline Ron Nasty said
I would say it’s three mixes of the album across the discs, @meanmistermustard. The 2018 stereo being on the first two discs and as PCM [Post-code modulation] Stereo on the Blu-Ray; 5.1 on the Blu-Ray, DTS-HD Master Audio and its competitor Dolby TrueHD, but both the same mix; the original mono.
So DTS and Dolby will be the same just for rivals?
Whoopdeedoo.
What on earth is Post-code modulation? I clicked on the link and understood nothing.
The Hole Got Fixed said
5.1’s mean more separation , and more separation mean more chance of working some audio wizardry to try to extract multitracks.
But we don’t need 2 5.1 mixes!
Yip. Within about 26 seconds of this being for sale there will be a gazillion available downloads offering all kinds of manipulations and separations of the material; You can already find such things with what we have of ‘Back In The U.S.S.R.’. Much will be utter crap but I look forward to the separations of the Esher demos and those who do their workings imaginatively, creatively and professionally.
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8.21pm
Reviewers
17 December 2012
Offline Yep, it’s like the days of Betamax vs. VHS all over again. Except now you can have both formats on the same playback media, so it doesn’t matter if the player can read one, the other, or both formats.
"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
8.30pm
Moderators
27 November 2016
Offline Post-code modulation doesn’t exist 😉
Pulse-code modulation, however, is the method used to represent audio (an analog thing) digitally. If you load up a file in audacity, and zoom in until you see the samples, that’s the PCM.
That’s my best attempt at a summary…
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8.49pm
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17 December 2012
Offline Darn feckin’ typos! At least I linked to the right article. 
Even if it did seem like gibberish! 
"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
To @ Ron Nasty it's @ mja6758
The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
10.06pm
28 August 2018
Offline The Hole Got Fixed said
And I agree with that.I’m simply wary that they might do the same amount of compression as they did on Penny Lane in 2016(?), which is very audible.
Compression at the mixing stage is good, it can make everything clearer and generally you can’t tell (hell, even I use it at the mixing stage!) but in the mastering stage it’s really bad because it serves no purpose other than to destroy the fidelity.
You hit it right on the nail.
And for the record, I still really like the new mix for Back in the U.S.S.R. I think Giles Martin made smart creative decisions on how to modernize the mix.
The Esther demos are the real gold I’m looking forward to. I heard someone describe them as basically “The Beatles – Unplugged”.
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