![]() Throughout, the vocals feel more focused and textured, especially when compared to the original Parlophone stereo pressing from 1967-as well as the 2012 pressings Sean Magee cut from digital files. Low frequencies, such as Paul McCartney’s bass and Ringo Starr’s kick drum, punch harder, but don’t overwhelm the music. ![]() When the music begins, instruments come out into the open more clearly than on prior releases. The crowd noise opening the album now sounds luxuriously rich-you feel as if you’re standing in the midst of all the people gathered to hear the band. ![]() The sonics are more impressively open and enveloping than the Blu-ray disc included in the Super Deluxe box set of Sgt. Miles Showell cut the LP version at half speed using the 24-bit/96kHzfiles that served as the basis for the various digital releases. The result has the focus of the mono release (which the Beatles helped oversee), yielding a richer, more panoramic presentation than stereo can provide. He centers the lead vocals and spreads the music across a larger soundstage. Giles Martin, son of The Beatles’ producer George Martin, used the earliest-generation four-track tapes to create a new stereo mix for the 50 thanniversary of Sgt.
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