Tema: The Beatles - Sgt. Pepper's Lonely Hearts Club Band. Ediciones 50 Aniversario.

Y más información detallada del material incluido (parece que el DVD/Blu-ray es bastante completito):

The comprehensive six-disc boxed set features:

• CD 1:
  New stereo album mix.

• CDs 2 & 3:
  33 additional recordings from the studio sessions, most previously unreleased and mixed for the first time from the four-track session tapes, sequenced in chronological order of their recording dates.
  
  A new stereo mix of 'Penny Lane' and the 2015 stereo mix of 'Strawberry Fields Forever'.

• CD 4:
  Direct transfers of the album's original mono mix and the 'Strawberry Fields Forever' and 'Penny Lane' singles.
  Capitol Records' U.S. promotional mono single mix of 'Penny Lane'.
  Previously unreleased early mono mixes of 'She's Leaving Home, 'A Day In The Life,' and 'Lucy In The Sky With Diamonds' (a mix thought to have been erased from a tape in 1967, but discovered during archive research for the anniversary edition).

• Discs 5 & 6 (Blu-ray and DVD):
  New 5.1 surround audio mixes of the album and 'Penny Lane' by Giles Martin and Sam Okell, plus their 2015 5.1 surround mix of 'Strawberry Fields Forever'.
  High resolution audio versions of the new stereo mixes of the album and 'Penny Lane' and of the 2015 stereo mix of 'Strawberry Fields Forever'.
  Video features: 4K restored original promotional films for 'Strawberry Fields Forever,' 'Penny Lane,' and 'A Day In The Life;' plus The Making of Sgt. Pepper, a restored, previously unreleased documentary film broadcast in 1992, featuring insightful interviews with McCartney, Harrison, and Starr, and in-studio footage introduced by George Martin.

BLURAY/DVD
1-13 Sgt. Pepper's Lonely Hearts Club Band new stereo/5.1
14 Strawberry Fields Forever - 2015 5.1 mix
15 Penny Lane new 5.1 mix
16 The Making Of Sgt. Pepper restored
17 A Day In The Life - 2017 Audio
18 Strawberry Fields Forever - 2017 Audio
19 Penny Lane - 2017 Audio

CD1 - album, new 2017 stereo mix
CD2
1 Strawberry Fields Forever - Take 1
2 Strawberry Fields Forever - Take 4
3 Strawberry Fields Forever - Take 7
4 Strawberry Fields Forever - Take 26
5 Strawberry Fields Forever - Stereo/Giles Martin Mix (probably the 2015 mix)
6 When I'm Sixty-Four
7 Penny Lane - Take 6
8 Penny Lane - Vocal Overdubs and Speech
9 Penny Lane - Stereo / Giles Martin Mix 2017
10 A Day In The Lif e- Take 1
11 A Day In The Life - Take 2
12 A Day In The Life - Orchestra Overdub
13 A Day In The Life - Hummed Last Chord
14 A Day In The Life - The Last Chord
15 Sgt. Pepper's Lonely Hearts Club Band - Take 1
16 Sgt. Pepper's Lonely Hearts Club Band - Take 9
17 Good Morning Good Morning - Take 1
18 Good Morning Good Morning - Take 8
CD3
1 Fixing A Hole - Take 1
2 Fixing A Hole - Speech And Take 3
3 Being For The Benefit Of Mr. Kite!
4 Being For The Benefit Of Mr. Kite! - Take 7
5 Lively Rita - Speech and Take 9
(Should read "Lovely Rita")
6 Lucy In The Sky With Diamonds - Take 1 And Speech
7 Lucy In The Sky With Diamonds - Speech
8 Getting Better - Take 1
9 Getting Better - Take 12
10 Within You Without You - Take 1
11 Within You Without You - George Coaching The Musicians
12 She's Leaving Home - Take 1
13 She's Leaving Home - Take 6
14 With A Little Help From My Friends - Take 1
15 Sgt. Peppers Lonely Hearts Club Band (Reprise) Speech and Take 8
CD4
1-13 album in mono, original mono mix
14 Strawberry Fields Forever (mono single)
15 Penny Lane (mono single)
16 A Day In The Live - First Mono Mix
17 Lucy In The Sky With Diamonds - Original Mono Mix (lost version)
18 She's Leaving Home - First Mono Mix
19 Penny Lane - Capitol Records Mono Mix

Yo me quedo con la versión en mono que era la que le gustaba a Lennon.

Es que la versión en mono es en la que trabajaron los Beatles, en la stereo original faltan cosas como el acelerado de She's Leaving Home o la alteración de la voz de Lennon en Lucy.
Pero lo interesante de la remezcla es que Giles Martin dice que se ha inspirado en la mezcla en mono, ha aplicado todos esos elementos y el concepto general del sonido, así que va a ser interesante de escuchar. Si al final no nos gusta, siempre nos quedará la mazcla mono original (que también se incluye en el pack).

Interesante articulo que han publicado en "superdeluxeedition" sobre la escucha en Abbey Road de la nueva mezcla y los comentarios de Giles Martin sobre el proceso de remasterizacion y de mas:

SDE listens to the new Sgt. Pepper stereo remix at Abbey Road and asks Giles Martin about ‘Carnival of Light’…

Apple Corps and Universal Music last night hosted a preview event for a hundred or so journalists from around the world in which Giles Martin discussed his work on the anniversary reissue of The Beatles‘ Sgt. Pepper’s Lonely Hearts Club Band and the new stereo remix of the album was played in full. SDE was there…

Sgt. Pepper invitation

Any visit to Abbey Road Studios is incredible, but to be in Studio 2, where the Fab Four recorded most of Sgt. Pepper, for this playback event was pretty special.

After a short introduction by Apple boss Jeff Jones, George’s son Giles Martin (who with Sam Okell remixed the tracks for the forthcoming reissue) was interviewed by BBC 6 Music broadcaster (and former Menswear drummer) Matt Everitt.

Here’s some highlights from Martin’s chat with Everitt and the Q&A at the end:

Goals for the project:

Giles Martin: Music’s a strange thing. You try to recreate, what you remember hearing, if that makes any sense? So the goal behind Sgt. Pepper is to say… ‘What does Sgt. Pepper sound like? We have the privilege of going back to the four-tracks… we can peel back the layers and rebuild it. So the goal.. well there’s two things. There’s the ‘socks and sandals’ brigade – they own every single note of Sgt. Pepper. There’s probably some people in the audience who would claim to be these people – and they are – they are the people I lean on. And then there’s the children and grandchildren of people who are told ‘you should listen to Sgt. Pepper – it’s the most amazing sounding album’ and they can put it on in this crazy world we live in, with all the other music in the world and it bursts out of the speakers as it should do. So that’s the intention, to tick both of those boxes.

On the mono / stereo mixes:

Giles Martin: The Beatles weren’t present for the [original] stereo mixes at all. The monos were to the band what Sgt. Pepper is. What happened is, when The Beatles recorded they’d make notes on the tape boxes, [but] because the speed and pressure with which they were working… for example, before they finished the mixing – I think – they recorded Magical Mystery Tour, the song, and they recorded the All You Need Is Love broadcast as Pepper was coming out… so things like paying attention to notes on recordings just weren’t done. Our intention was to make a stereo of the mono. I worked with my dad since I was 15, so I know what he would have thought and I know the band well, so you just kind of respect what they think.

Peeling back the layers…

Giles Martin: My first Beatles exposure was on the Anthology project, I was 21, 22, and I went upstairs with my dad and he played me A Day In The Life from the four-track, and it was like they were in the room. The clarity, the tapes… we get credit for this, stuff they did years ago, but the tapes sound amazing. The Beatles don’t sound old and their records shouldn’t sound old. I’ll give you an example of what we can do by not using the bounces… so if you can imagine, if you record guitar, bass and drums and you bounce that down to one track… so [in stereo] you end up with music on one side and voice of the other.. So if you take Lovely Rita, the CD you all know is very heavily biased on the right hand side [plays a section of the original stereo song followed by some of the new stereo mix which is much more balanced]. In essence, what we do is peel back the layers… immersive is such an overused word for albums now, but Sgt. Pepper really is an album you can fall into… the mono of Sgt. Pepper is so technically brilliant.

Lucy in the Sky With Diamonds

Giles Martin: We wouldn’t be here listening to this now if they [Paul, Ringo, Olivia & Yoko] weren’t happy. It’s their record. I’ll play you Lucy In The Sky With Diamonds. The mono has a lot of ADTing which where you varispeed the tape machine and with the record head and play head at the same time, it gives you this voice effect… This is what John Lennon wanted [plays some of the original mono mix.. followed by the new stereo mix, which has all the correct vocal effects in place]. Again, it’s a stereo of the mono.

“It’s the opposite of ice-cream brain freeze… “

Giles Martin: [This new mix is] about bringing them into the room, because they were so good. They made such a good noise. There’s very few things in life that make you feel better – especially right now – that just exist. And this is one of those things…. It’s the opposite of ice-cream brain freeze, this record. You know, why have When I’m Sixty Four after Within You Without You? There’s so much innovation and ideas packed into it. I found while working on it – we didn’t mix in order, we just chose a song and mixed it – that it’s only as we put it together you realise that as an album the songs make more sense.

Putting Penny Lane and Strawberry Fields into the album…(or not)

Giles Martin: I’ve gotta be honest… it’s in the package. We thought a lot about where it should go in the album… but why change Sgt. Pepper’s Hearts Club Band? We’d probably be strung up…

5.1 mixes

Giles Martin: We were quite conservative with the 5.1 mixes on the ‘number ones’ album but with this the 5.1 mixes are much more immersive.

Question from SDE: Was Carnival of Light considered for the bonus material in the box?

Giles Martin: Yes, it was. As was It’s Only A Northern Song, as well, actually. But it wasn’t really part of Pepper. It wasn’t part of the Sgt. Pepper recording. It’s a very different thing. I hope we can do something interesting with that at some point…but it wasn’t really part of the Sgt. Pepper album.

Quad mix of Sgt. Pepper

Giles Martin: Did I reference the Quad Mix of Sgt. Pepper while making the new 5.1? No, I didn’t, is the answer! It wasn’t done by The Beatles… was it? Again, I go back to what they did and what they think. So no, I didn’t. Nor did I know that it existed, so that’s probably why [laughs].

What’s left that hasn’t been heard?

Giles Martin: The Beatles were very economical in terms of how they recorded. They did multiple takes of the same song. To give you an example, on the bonus disc [CD 2 in the super deluxe edition] is take 1 of Sgt. Pepper which has no vocal on it, no bass on it. It’s just the band working out the song. And then take 9 which is the take, without overdubs. Even I can work out that there’s takes 2, 3 , 4, 5, 6, 7 and 8 between those, but they’re pretty much the same, to be honest. Here’s the thing, from our point of view you have to charge money for this – that’s the way it works, because you’ve got to pay publishing and all these sorts of things. It gets to the stage where it’s money for old rope… and my job is to make sure we’re providing stuff that’s worth it. With Sgt. Pepper we’ve been really careful and have taken a long time and been really diligent, and giving people a real feeling of what it’s like to be part of the album…

SDE verdict: Paul Sinclair on the new stereo remix

During the evening, the new stereo mix of Sgt. Pepper’s Hearts Club Band was played in full. This was being driven directly via 96/24 files from Giles Martin’s laptop, to what are presumably hideously expensive speakers (see image above).

So how does it sound? It’s a difficult question to answer accurately since ANY version of Sgt. Pepper being blasted in Studio 2 of Abbey Road Studios would sound amazing and it’s very, VERY easy to get sucked into just enjoying the record and forget to listen out for tell-tale improvements (or otherwise). And you can’t say “stop, can I hear that bit again?”. That said, I thought Giles and Sam had done a great job and the best indications were earlier in the evening when Martin compared tracks side-by-side (Lovely Rita, Lucy In The Sky With Diamonds). The goal – as stated – was to “make a stereo of the mono” and from what I heard, they seem to have fixed many/all of the limitations and/or mixing errors on the original stereo version. The new stereo remix is unquestionable superior to the original stereo mix. Whether that renders the original mono mix semi-redundant, is another, more interesting question.

Giles talks about ‘peeling back the layers’ but when you unglue everything in the original mixes in a digital domain and then try to ‘reseal’ for a 2017 remix do you lose something intangible? Does the dust in the air of 1967’s Abbey Road Studio 2 leave the room?

The positives are numerous, such as clarity, separation and depth of bass and drums in particular. But whether by accident or design recording Sgt. Pepper on a four-track and ‘bouncing down’ meant compromising on clarity and separation and the question is, do those compromises detract from or add to the magic of the album? Maybe it’s a moot point. The original mono album endures and indeed has a place at the table within the new super deluxe edition box set, although it’s worth noting, for all its accepted superiority, that Apple have never made it available separately on CD. I guess the nuances are too hard to communicate to a general audience. Why would I want to listen to something in mono?!

Technological advances have allowed Giles Martin to create a stereo mix his father simply couldn’t do in the 1960s, and I can see this new remix fairly quickly superseding the flawed original. As Giles pertinently pointed out, our children and grandchildren have a version of the album that ‘works’ in this new millennium and also honours the original mixing decisions of the mono version. Crucially, this means the general audience will now be listening to a mix of the album that is close to what the band wanted when they oversaw those mono mixing sessions. But that’s the general audience. I suspect purists will still gravitate to the ‘unpeeled’ mono version for the ultimate mix of authenticity and (in Giles’ own words) technical brilliance.

Tanta restauración y remasterización se van a cargar el sonido original, la esencia de ese sonido de los 60 con los defectos y virtudes que tiene.

Dejadlo ya. Todo esto es para sacar pasta al consumidor. Y dejar a la gallina sin huevos literalmente.


Este Sargento Pepper se podrá oir de puta madre, pero no es el Sargento que grabó Paul, John, Ringo y George...no lo es.

Iniciado por juan miguel

Tanta restauración y remasterización se van a cargar el sonido original, la esencia de ese sonido de los 60 con los defectos y virtudes que tiene.

Dejadlo ya. Todo esto es para sacar pasta al consumidor. Y dejar a la gallina sin huevos literalmente.


Este Sargento Pepper se podrá oir de puta madre, pero no es el Sargento que grabó Paul, John, Ringo y George...no lo es.

Hombre, precisamente la restauración y remasterización (si se hace bien) lo que hace es revelar mucho más la música que está en las cintas originales (y que las limitaciones técnicas de la época no podían representar en su totalidad).

Y claro, se trata de sacar pasta, como se trataba de sacar pasta cuando salió el disco original en 1967. No hay nada de malo en ello: que lo compre quien quiera.

Y en cuanto al Sgt. Pepper que grabaron los Beatles: probablemente nos podremos acercar más que nunca al sonido que escuchaban ellos en el estudio. Y para quien prefiera el sonido de los discos originales, los tiene ya en todo tipo de configuraciones, y no van a desaparecer por esta nueva versión. ¿Qué sentido tendría sacar otra vez lo mismo?

Iniciado por Marty_McFly

Hombre, precisamente la restauración y remasterización (si se hace bien) lo que hace es revelar mucho más la música que está en las cintas originales (y que las limitaciones técnicas de la época no podían representar en su totalidad).

Y claro, se trata de sacar pasta, como se trataba de sacar pasta cuando salió el disco original en 1967. No hay nada de malo en ello: que lo compre quien quiera.

Y en cuanto al Sgt. Pepper que grabaron los Beatles: probablemente nos podremos acercar más que nunca al sonido que escuchaban ellos en el estudio. Y para quien prefiera el sonido de los discos originales, los tiene ya en todo tipo de configuraciones, y no van a desaparecer por esta nueva versión. ¿Qué sentido tendría sacar otra vez lo mismo?

Marty, siempre me has parecido un tio con cabeza y siempre te he respetado, pero pillo lo que dice el compañero en otro sentido...
Lo que yo pienso es que no me mola que hayan 4 versiones de lo mismo... y que saquen de vez en cuendo otra mas (5, 6, 7, etc) ya que lo unico que hacen es:

a) Confundir al usuario (cual escucho entonces, cual es la mas fiel, el primer remaster, el segundo? el tercero?)

b) QUe los mas fans se pongan nerviosos porque no tienen esa nueva versión que "dicien" que es la mejor hasta ahora.

Que hicieron en la primera, segunda y tercera remasterización, hacerlo mal?

Es parecido a Mad max Fury road. Versión 1080p, versión 4k coloreada, versión 3d, versión Blanco y negro!!! (este ejemplo es mas claro, el director en teoría quería la de b/n)