Abbey Road =2009 remastered=stereo
1 x LP
=STEREO=Remastered from Original Analogue Tape=
2009 EU remastered from orginal master tapes, on 180g LP=This 1969 Classic Recorded after Let It Be, but released before the conventional swan song, Abbey Road sends the Beatles out with a flurry, as the longtime favorite is replete with hallmark str...
Release date: 08-11-2012(Originally released in 1969)
2012 EU remastered from orginal master tapes, on 180g LP=This 1969 Classic Recorded after Let It Be, but released before the conventional swan song, Abbey Road sends the Beatles out with a flurry, as the longtime favorite is replete with hallmark strengths that encompass the band’s unsurpassed career. Arguably the most well-produced and tightly played Beatles effort, Abbey Road is iconic not only because of its cover art but due to the music within. =Cut at Abbey Road Studios by a First-Rate Team of Producers and Engineers: Stringent Procedures and Safeguards Ensure Optimum Audiophile-Quality Sound
A1 Come Together
A3 Maxwell's Silver Hammer
A4 Oh! Darling
A5 Octopus's Garden
A6 I Want You (She's So Heavy)
B1 Here Comes The Sun
B3 You Never Give Me Your Money
B4 Sun King
B5 Mean Mr. Mustard
B6 Polythene Pam
B7 She Came In Through The Bathroom Window
B8 Golden Slumbers
B9 Carry That Weight
B10 The End
Part of Capitol/Apple’s quintessential Beatles catalog masters series on LP, Abbey Road has been remastered by a dedicated team of engineers that includes Guy Massey, Steve Rooke, and Sam Okell with Paul Hicks and Sean Magee. Proper care and a painstaking series of steps were taken to ensure that music lovers would hear the Fab Four in all their glory with unprecedented clarity and transparency.
That means that Paul McCartney’s infallible pop symphony that closes the album takes on additional poignancy, the polished arrangements breathing with greater warmth, immediacy, and detail. And the group’s guitar-based compositions—“I Want You (She’s So Heavy),” “Come Together”—are set up against a fantastic soundstage steeped in incredible depth, width, and height. George Harrison’s continued emergence as a primary songwriter, as his unforgettable contributions of “Something” and “Here Come the Sun,” comes into sharper focus as well.
With EMI’s legendary Abbey Road Studios providing the backdrop, the four-year restoration process combined veteran expertise, state-of-the-art equipment, vintage studio gear, and rigorous testing to net what is without doubt the highest fidelity possible and authentic, jaw-dropping sound guaranteed to rival the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings.
At the start of the restoration process, engineers conducted extensive tests before copying the analog master tapes into the digital realm 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 it was determined that doing so didn’t at all damage the integrity of the songs. Similarly, 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.
In cutting the digital masters to vinyl, stringent safeguards and procedures were employed. After cutting to lacquer, determined to be warmer and consistent than cutting to DMM, the next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, 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 also decided to use the remasters that had not undergone ‘limiting,' a procedure to increase the sound level.
Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes.' vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect.
Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the center of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.
The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.
For this project, there was no such thing as too many cooks in the kitchen. Yes, it took a village to get it right.
While Let It Be was their final release, Abbey Road was the result of the last time they recorded together in the studio. Despite the annonmosity and frayed tensions among the band, Abbey Road shows that they could produce music head and shoulders above everyone else. "Come Together" has a Chuck Berry riff and George Harrison's "Something" has became a standard with even Frank Sinatra recording a version. "Oh! Darling" has Paul McCartney flexing his vocal muscles and "Octopus' Garden" is a fun and goofy Ringo Starr composition. "I Want You (She's So Heavy)" is aptly titled as it has an urgency and yearning John Lennon vocal with heavy guitar playing. "Here Comes The Sun" is the best song George Harrison did with the Beatles with it's optimistic lyrics playing in stark contrast to the dark clouds surrounding the band at the time. The song suite that closes the album shows the band were still willing to push boundaries and it is appropriate it closes out with a song called "The End". Abbey Road marked the close of the recording career of the greatest group in music history. In the six years that they made music in the studio together, they produced songs that not only affected the music world, but the world as whole. From their hair, to their clothes to just about everything they did, they gripped the public's image and attitudes.
Extra info: =STEREO=Remastered from Original Analogue Tape=
Originally released: 1969
This release: 2012