About time to put in my nickel's worth about this one.
First of all, Mr. Martin had only two choices for remixing this: a) go nuts and really let things fly, or b) mainly let the separation of the mix speak for itself. To the dismay of some, this is mainly what he has done, probably (with the approval of the surviving Beatles and the widows) believing--and rightly, I think--that the recording, the project, the end result, was dazzling and innovative enough on its own without adding even *more* sonic window dressing via all sorts of pans and around-the-room, here there 'n' everywhere sounds to render it even more psychedelic. The former approach may have been more of an immersive, kick out the jams experience, but such a mix may have been, over time, wearing and fatiguing. We know this because over the years such effects have been considered great fun to some (like moi) but for others, gimmicky and contrived, a distraction taking away rather than improving upon the original recording.
At the same time, we do get something very important with the new stereo and 5.1 (or whatever it actually is) mixes: a lot of fresh, new detail that is not only due to the remixes and separation, but the clarity offered by modern technology. And of course this mix can't replace the original mono--the 'keeper' mix is the mono, just like PET SOUNDS--but it is, for me, loads of fun and, in key places, more sensible than the original stereo mix had to offer (though to be fair, the technology of Abbey Road in 1967 might have played a part, with its inherent limitations). In other words--and despite some low ratings found in this thread--the new mixes are different, and the 5.1 may not be as razzle-dazzle as some might want but, despite certain issues, it doesn't suck. It just isn't quite what you or I would have done ourselves had we been in the catbird seat, supervising the remixes.
I also want to state that when you come right down to it, only certain tracks really lend themselves to some outlandish embellishments: the title track (and reprise), "Lucy," "Kite," "Within You," "Good Morning" (here and there) and "A Day in the Life." I mean, "Fixing a Hole" is an exceptional mix, perfectly fitting compared to the original; same with "When I'm Sixty-Four." How could these mixes have been improved upon? Not all the album is as radical as its final track, after all, so certain songs were probably better off being mixed 'conservatively.'
Leaving the great packaging out of the equation--IMO you have to be a really grouchy curmudgeon to have a problem with anything about it (I like cool looking conversation pieces like this, regardless of their ungainly, outsized nature)--my only real issue is with the volume. Normally, when shifting from, say, cable or broadcast audio, to my amp, there is a slight to moderate increase in volume, variable depending on the recording. As opposed to vinyl or even CD's, I find most DVD 5.1's louder still, but the difference with both the Pepper DVD and BluRay's is jarring, to the point where I scrambled for the remote to modulate things, lest the cat freak out and attack me...:yikes And like some, I really don't want the perpetual loop of music while frigging with the menu, common as that is for music or movie-related anything.
Which leaves me at a '9' rating overall in spite of certain quibbles. After all, I've lived with this album for fifty years, which is longer than family, girlfriends, wives and whoever else I've known, loved or despised....
If it has flaws, they're hardly evil enough to disparage to the degree I've read here and elsewhere.
I've had more than a pleasant time, guaranteed or not...
ED
