Description
For years the most anticipated vinyl reissues have been from the one, the only Beatles catalog. Finally, after a delay due to the meticulousness of the remastering process and assorted other hurdles, that day has come. The Beatles catalog is getting the audiophile treatment! 180-gram vinyl pressings cut at Abbey Road Studios using the non-limited 24-bit digital masters sourced from the original analog master tapes!
These titles update the Beatles classic albums, which have continued to sell strongly and attract new generations of fans long after the quartet disbanded in 1970. For this reissue, individual titles were sourced from the original master tapes. Then each title was copied into 24-bit/44.1 kHz files with no compression and cut to lacquer at Abbey Road Studios. It was a painstaking process with maximum attention paid to every detail.
This is where it all ends. While recorded in 1969, Let It Be remains the Beatles’ final salvo due to its release in 1970 and the internal tensions that mark the album. Filled with a litany of underrated gems, it also hosts the universally recognized gospel-laden title track, on a par with the best material the Beatles ever recorded.
For its Beatles’ Stereo Albums series on LP, Capitol/Apple turned to a crack team of engineers to remaster the entire studio catalog from the original sources. The team, including Guy Massey, Steve Rooke and Sam Okell with Paul Hicks and Sean Magee undertook a four-year restoration process for the LP versions, combining state-of-the-art equipment, vintage studio gear and rigorous testing to meet the highest fidelity standards and produce authentic unsurpassed sound rivaling the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings!
Controversial due to its involvement of Phil Spector, who actually left a bulk of the work untouched save for a handful of tracks, Let It Be marks a return to a drier, back-to-basics live-in-the-studio sound. The band’s operating rule while making the album was simple: no overdubs.
Capitol’s new LP highlights this characteristic, as the folksy harmonies on “Two of Us” and straight-ahead charge of “I’ve Got a Feeling” demonstrate. Seldom, if ever, were the Beatles so raw and direct. For all of its alleged flaws, Let It Be remains brilliant. And the orchestral and choir arrangements on the Spector-treated “The Long and Winding Road” simply soar.
Extensive testing was done before engineers copied the analog master tapes into digital files using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance and poor edits were improved upon as long as they were judged not to damage the integrity of the songs. The 24/192 transfers were done to produce an archival copy of the tapes and then those files were reduced to 24/44.1 kHz files for final mastering. De-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music. Compression was used sparingly and only on the stereo versions to preserve the sanctity of the dynamics.
The digital files were cut to lacquers at Abbey Road Studios. 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 decided to use the remasters that had not undergone “limiting,” a procedure to increase the sound level.
Steps to eliminate vocal distortions and inner-groove distortions were addressed using a digital workstation. The latter can affect high-middle frequencies, producing a “mushy” sound noticeable on vocals. Using what Magee has described as “surgical EQ,” problem frequencies were identified and reduced in level to compensate for this.
Lastly, the first batches of test pressings made from the master lacquers that had been sent to two pressing plants were judged. Records with any noise or click appearing on more than one test pressing in the same place were rejected, on the grounds that undesired sound had been introduced either during the cutting or pressing stage. The remasters have the absolute best sound quality, producing the quietest vinyl lacquers.
For producer Rick Rubin, The Beatles’ recorded achievements are akin to a miracle. The most popular bands in the world today typically produce an album every four years, Rubin told a 2009 radio audience. That’s two albums as an eight-year cycle. “And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change … it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”
 | Side 1 |
| Two of Us |
| Dig a Pony |
| Across the Universe |
| I Me Mine |
| Dig It |
| Let It Be |
| Maggie Mae |
| Side 2 |
| I’ve Got a Feeling |
| One After 909 |
| The Long and Winding Road |
| For You Blue |
| Get Back |
