Beatles Revolver Box Set (Dolby Atmos Mix available for streaming; No Blu-Ray)

[bookofsaturdays]

I was listening to LOVE yesterday, and Drive My Car sounded pretty nice and discrete to me, certainly better than the stereo mix which just sits there, completely empty down the middle.

However I don’t think anything will beat the RS mono mix which absolutely rocks, IMO.

 

[marcb]

Seems like there is a concerted effort to force people to streaming particularly for surround

Ya think?

 

[key_wiz]

Seems like there is a concerted effort to force people to streaming particularly for surround

Really?

Physical media has been dead for years. How many stores even have a CD section anymore? Streaming is simply the means-of-delivery of choice of the vast majority of modern music consumers. I don't think anyone has 'forced' that upon anyone. If anything, I'm sure the labels would all love to return to the old days of selling 10 million physical copies of the latest hit album at $14.99 a pop.

 

[dobyblue]

Really?

Physical media has been dead for years. How many stores even have a CD section anymore? Streaming is simply the means-of-delivery of choice of the vast majority of modern music consumers. I don't think anyone has 'forced' that upon anyone. If anything, I'm sure the labels would all love to return to the old days of selling 10 million physical copies of the latest hit album at $14.99 a pop.

You missed the "surround" part of the post you were responding to. Streaming simply cannot be the choice of the vast majority of modern SURROUND music customers based on what we see and read out there on the interwebz.

If you couldn't make money from 1500 copies of a title, we'd never have seen The Tipping Point.

My guess what's going on here is as usual, a bunch of suits don't know their audience.

 

[key_wiz]

You missed the "surround" part of the post you were responding to. Streaming simply cannot be the choice of the vast majority of modern SURROUND music customers based on what we see and read out there on the interwebz.

If you couldn't make money from 1500 copies of a title, we'd never have seen The Tipping Point.

My guess what's going on here is as usual, a bunch of suits don't know their audience.

I didn't miss the surround part. What I also haven't missed is the flood of new surround mixes released to streaming that would never have seen the light of day were streaming not an option. And clearly part of the effort is to create a NEW audience. Which is why most of the releases are NEW music.

Where I think you're missing the point here is that you say "MODERN" surround music customers. How many people under the age of 50 do you think purchased "The Tipping Point"? And CAN you make money selling 1,500 copies? Or can it only work for select titles when the band itself is determined to make it happen?

 

[dobyblue]

You didn’t mention surround at all in your reply to the post stating “particularly for surround” (what this website exists for). I’d say you ignored the intent of the post.

 

[kap'n krunch]

guys guys guys, I will repeat this, yes, the MASTERS from where they MIXED it from were FOUR track but there IS acess to all of the PREVIOUS 4 tracks from where they bounced to one track BEFORE the 4 track final master so doing a MCH mix is a no brainer...

 

[dobyblue]

guys guys guys, I will repeat this, yes, the MASTERS from where they MIXED it from were FOUR track but there IS acess to all of the PREVIOUS 4 tracks from where they bounced to one track BEFORE the 4 track final master so doing a MCH mix is a no brainer...

It’s just a bummer that in some cases like Taxman, the initial Track One combined drums, bass and Guitar 1. Would be ace bananas if they had done them on Tracks 1-3 then bounced!

 

[sjcorne]

Streaming simply cannot be the choice of the vast majority of modern SURROUND music customers based on what we see and read out there on the interwebz.

I don't think folks with multichannel home theater systems are really the target audience for these new Atmos releases, most are being commissioned for headphone playback via Spatial Audio streaming. I think the big labels see 'real' Atmos playback on speakers as kind of a bonus feature, not a reliable revenue source but one that can maybe net them a few dollars on the side (and the cost of authoring & manufacturing Blu-Rays eats further into the already-small profit margin).

 

[key_wiz]

You didn’t mention surround at all in your reply to the post stating “particularly for surround” (what this website exists for). I’d say you ignored the intent of the post.

Because my point was that these same market conditions for all physical media. Surround or otherwise.

Surround physical media has ALWAYS struggled to be profitable. And no one has presented any evidence that it suddenly is more profitable now than it ever has been.

 

[4-earredwonder]

I did find this wikipedia article regarding the recording/execution of REVOLVER quite interesting:

https://en.wikipedia.org/wiki/Revolver_(Beatles_album)

 

[privateuniverse]

It’s just a bummer that in some cases like Taxman, the initial Track One combined drums, bass and Guitar 1. Would be ace bananas if they had done them on Tracks 1-3 then bounced!

Thankfully the cowbell won't be drowned out!

 

[smokey911]

It’s just a bummer that in some cases like Taxman, the initial Track One combined drums, bass and Guitar 1. Would be ace bananas if they had done them on Tracks 1-3 then bounced!

This is where the de-mix tech comes into play. It could be used to split the combined tracks into individual elements

 

[Belgiumliver]

This is where the de-mix tech comes into play. It could be used to split the combined tracks into individual elements

Not really. That is wishful thinking. There are limittations. You can not simply seperate backing vocals from lead, or remove a tambourine from a guitar track. You will still hear the rest of it.

 

[zobalob]

Not really. That is wishful thinking. There are limittations. You can not simply seperate backing vocals from lead, or remove a tambourine from a guitar track. You will still hear the rest of it.

Yeah, the software apparently used for demixing in this instance can't separate something like two guitars recorded on the same track, or at least it couldn't when it was used extensively for Peter Jackson's Get Back. He demonstrated its' capabilities in an interview at the time, taking a mono Nagra recording of an 'I've Got A Feeling' rehearsal and separating it cleanly into drums, bass, voices and guitars IIRC. These could then be balanced and EQd separately in order to make a much more satisfying stereo image.

If, say, that technology (reportedly far better than Abbey Road's in house version) were applied to 'Taxman', the track layout of which @dobyblue has kindly provided above, it can be seen that the main problem lies in the fact that drums, bass and one guitar were recorded directly onto one track right at the beginning...other, later overdubs present less of problem. The software would in this case be capable of separating drums, bass and the guitar into separate tracks.

Other songs present similar problems, e.g. 'She Said, She Said' where drums and bass were initially recorded together on one track with two guitars on another.

 

[Belgiumliver]

Yeah, the software apparently used for demixing in this instance can't separate something like two guitars recorded on the same track, or at least it couldn't when it was used extensively for Peter Jackson's Get Back. He demonstrated its' capabilities in an interview at the time, taking a mono Nagra recording of an 'I've Got A Feeling' rehearsal and separating it cleanly into drums, bass, voices and guitars IIRC. These could then be balanced and EQd separately in order to make a much more satisfying stereo image.

If, say, that technology (reportedly far better than Abbey Road's in house version) were applied to 'Taxman', the track layout of which @dobyblue has kindly provided above, it can be seen that the main problem lies in the fact that drums, bass and one guitar were recorded directly onto one track right at the beginning...other, later overdubs present less of problem. The software would in this case be capable of separating drums, bass and the guitar into separate tracks.

Other songs present similar problems, e.g. 'She Said, She Said' where drums and bass were initially recorded together on one track with two guitars on another.

I really doubt that. Those contain many overlapping frequencies. I do not see this as feasible.

 

[Tres Discrete]

Please, Paul - be correct about the inclusion of a blu-ray with surround mixes

https://superdeluxeedition.com/news/giles-martin-confirms-that-revolver-is-the-next-beatles-reissue/

 

[smokey911]

Not really. That is wishful thinking. There are limittations. You can not simply seperate backing vocals from lead, or remove a tambourine from a guitar track. You will still hear the rest of it.

I am currently using DeMix Pro which does an excellent job of separating the various elements, drums, bass, guitars and vocals. I am amazed how well it can separate lead vocals from backing. All of these stems need some manual work in a spectral editor but it can be done and I'm sure Giles Martin has access to more advanced software than the rest of us.

 

[zobalob]

It seems that eventually the streaming option on more and more occasions will be our only choice.

Another option is to use AI separation tech and make one's own MC mix. I recently made my own 5.1 of Drive My Car using free on-line demixing services and tearing it down in Audacity. I like what came out and I might even do better if I want to pay for a more sophisticated demixing service like LALLAL.AI. By making one's own product, there would be no excuse to complain about the mixing choices.

That's interesting...what free AI demixing tech would you recommend?

 

[MidiMagic]

Not sure this has come up here, since there’s a lot of back and forth, but Revolver was recorded in 4 track with a lot of sub-mixing/bouncing to fit everything on to 4 tracks, isn’t that right? I am not an expert on Beatles productions, but I seem to recall that the move to syncing two 4 track units to expand to 8 track began with Sgt Pepper. So any 5.1, Atmos, etc would be electronically enhanced/upmixed, rather that pulled from an abundance of multi-tracks.

Synching two 4-tracks gives you 6 tracks, not 8. Each tape would need a sync track. But you could sync three machines for 9 tracks.

It is easier to bounce from one 4-track to a stereo pair and then add two more tracks.