The Beatles’ catalog finally got remastered on September 9th. The group’s 13 albums were released on CD, both individually and in two separate box sets. One box set contained the stereo mixes of the albums that are also available individually. The other box set contained mono mixes of all of the albums except Yellow Submarine, Abbey Road and Let it Be. These mono mixes are not available individually.
Some fans insist that the mono mixes are superior to the stereo ones. With that in mind, Onethirtybpm’s Sean Highkin and Brent Koepp listened to both versions of the group’s albums to try to come to a conclusion about which versions are the definitive ones. This was not done with the audiophile in mind…those people will have equipment far more expensive than ours. We were trying to figure out which mixes were better for normal people listening to these albums on normal stereo equipment, which is the majority of people buying these sets. Here’s what we came up with:
Please Please Me, With The Beatles, A Hard Day’s Night, Beatles For Sale, Help!:
Note: There wasn’t a drastic enough difference between the mixing in the first five albums, so we combined them all into one.
Sean:
The Beatles’ early albums are the ones that are supposed to have the most improvement in the original mono mix, which forces me to wonder if the people who come up with these “accepted” opinions are on crack. The first five albums have almost no bass in the mono mixes, and everything is way too cluttered. Help! in particular has an awful mono mix. When I compared them side by side, I had to check my files to make sure the mono mix wasn’t a 64kbps rip. The difference in clarity between the mono and stereo mixes is like night and day for that one in particular, but for all of their early albums in general.
Brent:
Maybe it’s because audiophiles have super hearing that 95% of the population do not posses, but I really did not hear the hype that surrounded the earlier Beatles records in mono. It has been said countless times that the first five albums would without a doubt be better in mono. Instead what I got were albums with muddy bass and drums. They sounded flat in comparison to stereo. Does the stereo have vocal panning? Sure. But you know what? I will take that panning if it means I can hear Paul’s bass, Ringo’s drums and John’s and George’s guitar playing in ways I have never been able to before. The stereo remasters of the albums bring new energy to the songs, and they sound absolutely incredible – especially if you are playing these over loud over speakers. The one album I have to single out is Help! It sounded absolutely awful in mono. Even stereo aside, it clearly sounds the worst of out all the mono. It’s very muddy, and low in mix. If you want to know why I mostly prefer the earlier albums in stereo, put on “Help”! in mono, then play it in stereo. The difference is night and day. The mono aren’t completely bad though, as there are some signs of brilliance. I particularly loved “Ticket to Ride” in mono.
Verdict: Stereo
Sean:
From the opening of “Drive My Car,” it’s clear that the mono mix of this one is not going to have the kind of muffled-bass issues that earlier mono mixes had. The bass is loud and clear in the mix, almost at times too much so, competing with the vocals for breathing room. The only major musical difference between the two mixes is at the very end of “What Goes On,” when a guitar line that closes out the stereo version is missing in the mono mix. There are things to be said for both of the mixes of Rubber Soul. And in all likelihood, it will come down to whether one already prefers mono or stereo. Both mixes sound good, and you can’t go wrong either way.
Brent:
Rubber Soul sounds fantastic in mono. Unlike the earlier albums, it has “punch” but still keeps its clarity. The bass still tends to suffer in this format, as it still sounds muddy compared to its stereo counterpart. However, both albums sound extremely close in quality for this release. I’m giving my nod slightly to mono for this album, because of that extra punch. And the extra punch really shines through on tracks like “Think For Yourself”.
Verdict: Toss Up! (It comes down to preference, both are excellent)
Sean:
I’m inclined to think that this “panning” issue on the stereo version is something that audiophiles are making up to make it seem like they have better hearing than us normal folks. The stereo mix of Revolver sounded fine to me on headphones. A far bigger issue to me is the bass, which is oftentimes way too muddy and distorted on the mono version. For that reason, I give my nod to stereo.
Brent:
This album has the worst vocal “panning” out of the entire discography, so often it is argued that this is a must in mono. The problem for me is that the album loses clarity and energy in the mono version. So if you are willing to give up crisper sounding instruments and more “punch” just so you can avoid vocal panning, then so be it. But the album really shines in the stereo format. One of my gripes for the mono is that the bass is too loud on this album and in parts it sounds distorted. Depending on your ears, you might find this to be quite jarring and ear splitting at times. If you want pure vocals go with mono. But I think there are more positives to be offered with the stereo remaster, that I’m willing to put up with the panning. And to be honest, the panning isn’t even that awful (although it’s more noticeable with headphones on).
Verdict: Stereo (If you can’t stand vocal panning, go with mono, but stereo offers more)
Sgt. Pepper’s Lonely Hearts Club Band:
Sean:
The conventional wisdom states that you have never heard Sgt. Pepper’s until you’ve heard it in mono. However, I found the stereo version to be a lot clearer and fuller, particularly on the slashing guitars on “Getting Better.” “Being for the Benefit of Mr. Kite” has lots of subtleties that get lost in the mono mix, and while John Lennon’s vocal on “Lucy in the Sky With Diamonds” sounds trippier on the mono mix, the music sounds fuller in stereo.
Brent:
I think those that have apparently never really “heard” Sgt. Peppers before can finally join in with the audiophiles. They did such a fantastic job with the stereo mix – that if your a fan of stereo, you will be more satisfied with it. More so, even detractors will pleasantly be surprised at how much energy is brought to the album that couldn’t be heard before. The best example of this is “Being For The Benefit Of Mr. Kite!” which sounds better on stereo. because it is much more fuller and powerful – it sounds epic. Especially the guitar bit one minute in which sounds crisp. Conversely, it sounds muffled on mono compared to stereo. The mono version will probably still be heralded by purists as the definitive way to listen to Sgt. Peppers – but it can now be argued that the stereo version breathes new life into the album.
Verdict: Stereo
Sean:
The clear winner of the mono mix of Magical Mystery Tour is Ringo’s drums, which sound clearer and punchier throughout. This is one of the Beatles albums that is heaviest on studio effects, and everything just sounds more in focus on the mono mix. This is the only time for me where the mono mix is clearly superior.
Brent:
I agree with Sean, this the first mono album I can clearly say is better then the stereo. To my ears, the stereo version of this album sounds a bit strange. The panning is pretty evident in places. I had actually listened to the stereo version of this first and was impressed, but after hearing the mono it sounded really off. The Horns and backing vocals on “Penny Lane” really shine on the mono version. As a whole, the album just feels “more together” on the mono version.
Verdict: Mono
Sean:
The most frustrating of the Beatles’ studio albums is also the most frustrating when comparing mixes. The sheer volume and diversity of the music means that it will vary from song to song as to which version is better. “Dear Prudence” and “Happiness is a Warm Gun” sound absolutely perfect in mono, but the acoustic guitar in the background has much more impact on the stereo mix. The mono mix also features a version of “Helter Skelter” that is a minute shorter and far more cluttered than the stereo mix. But there are enough positives for each mix that it’s worth keeping both around if you’ve got the hard drive space.
Brent:
The White Album is literally a toss up when it comes to mono vs stereo. This is the album that every fan should own both versions of – because literally, some songs sound better on mono, some sound better on stereo. For instance, I noticed on “The Continuing Story Of Bungalow Bill” the bass is a little too loud, and the guitar bits are more muffled on the mono version. On the flip side tho, the vocals sound much better. So a bit of a trade off. “Happiness Is A Warm Gun” always sounded strange on the stereo mix to me. Especially if you have headphones on. The mono delivers a much better sounding version of the song, and this is a good example of why you need to own both version. So to sum up it up: there are moments when the mono version is clearly better – where the drums smack with ferocity and the vocals sound beautiful. But on the same note, there are also times where the stereo mix breathes better – especially on “Helter Sketer”.
Verdict: Toss Up! (This is definitive album where listeners should own both the mono and the stereo version of it. Some songs sound better on mono and vice versa).
Conclusion: Chances are that you are wondering what box set is “right for you”. The mono box set entices you because purists will always say that mono “is how the Beatles always intended” them to be heard. Then there is the fact that the mono box set is “limited”. However, we found that the Stereo far outperformed the Mono versions. There were only a couple albums that we could see ourselves arguing as being definitively better on mono. Taking all that into consideration, it’s hard to justify paying $40-60 more for a box set that not only has less content (it doesn’t include Abbey Road, Let It Be, Yellow Submarine, or the DVD documentaries), but overall doesn’t sound as good as the Stereo versions. It is true that mono was originally how most of these album were recorded. But they never sounded better then they do now with the Stereo remasters that will have you listening to the Beatles like you have never before.
Editor’s Note: Past Masters is not included because it’s mono equivalent, Mono Masters, has a different tracklisting. We suggest you check out both releases. Abbey Road, Let It Be, Yellow Submarine have only been mixed in stereo.
September 22nd, 2009 at 8:20 am
This was an excellent review! I thought that the stereo version was the one I wanted (and it is), but I just wanted to make sure. I looked at several different websites trying to decide and this one was the most helpful. Thank you!
September 22nd, 2009 at 9:14 pm
Awesome, awesome article. Thanks so much– this was very helpful.
September 29th, 2009 at 8:50 pm
Great review. My only complaint is that, based on Sean’s comment “I had to check my files to make sure the mono mix wasn’t a 64kbps rip” I am led to believe you were listening to ripped tracks of the CDs rather than the CDs themselves.
I’m no audiophile, but if that’s the case, wouldn’t it have been better to listen to the CDs directly? No matter what bitrate you’d use to rip it, the end result is going to rely on the quality of the encoder and the options used. Why add that level of indirection? I hope at least you were using a lossless format.
September 29th, 2009 at 9:07 pm
Hey Matunos,
I can vouch for Brent and Sean. Both were listening to 100% log FLAC files.
October 11th, 2009 at 11:43 am
The remasters are intended to sound as much as possible like the original vinyl pressings. For both box sets, the original sixties master tapes were used, except for “Help”, and “Rubber Soul” on the stereo set, which are 1987 remixes. It looks like we can’t get better sound than this from the master tapes, except perhaps when using SA/DVDA at 192 kbps. If ultimate sound quality is the goal, remixing form the original session tapes is inevitable. The “Love” album has already shown what is possible.
October 13th, 2009 at 12:59 am
Thanks for the straight dope opinion on these. I recently heard the mono version of Help! and had the same reaction … the mono version sounds clipped and muted. Without headphones, I have a nearly impossible time discerning the difference between Mono and Stereo Sgt. Peppers.
October 17th, 2009 at 11:40 am
What you need to realize is that mono was the prefered format in England up through the White album. The Beatles were present for most all the mono mixes and very few of the stereo, which were left up to the production team. This produced varied results. Sgt Pepper is amazing in mono and John Lennon was once quoted “You haven't heard Sgt. Pepper till you've heard it in mono.” Rubber Soul is probably on of the best early stereo recording made. The slight variations between stereo and mono would most likely only be of interest to the serious listener (like myself).
October 18th, 2009 at 5:48 am
I agree for the most part.
You're right, Help! Mono was just awful!!!
October 18th, 2009 at 2:10 pm
I have to laugh at what you call a 'review'. Listening to ripped files (even though lossless) on 'normal stereo equipment'-what exactly were you using as your reference equipment? Probably that is part of the reason why the early mono's didn't sound good to you-you're playing them on probably junk equipment purchased at Best Buy and this is how you base a review? You don't need a megabucks system either-Cambridge Audio, Rega, Rotel, B&W, Parasound, Marantz and many others make great stereo equipment at affordable prices. Sorry guys, but your 'review' reeks of being amaturish-I don't think you did your homework, or even realize the technical differences between the two sets-like the lack of compression, or limiting on the mono set for example, but do you even understand that? Readers should check out Stereophile's review or Tone Audio's if they want the real thing.weirdadventures@yahoo.ca
October 22nd, 2009 at 8:50 am
could be wrong, but i'm guessing the majority of readers reading this article have “junk equipment purchased at Best Buy” and that this article would supremely benefit them as listeners.
as a tip, I would try not to belittle the audience you're trying to steal.
October 23rd, 2009 at 11:18 pm
The mono recordings sound more like the original LPs and are more true to the original vision (I was a teenager when the Beatles were actually still around and I was lucky enough to have a dad who was a HiFi Nut) In our record stores you actually couldn't buy the Stereo versions of most LPs because hardly anybody had the gear to play them.
For nostalgia sake the Mono was my choice but I got the Stereo versions too and they are both excellent. If you are a young person you most likely would be more into the stereo versions but I think the stereo versions of the older albums sound goofy (stereo was so new) too much flash.
Just my 2 cents
October 26th, 2009 at 10:00 am
Thanks Sean & Brent for your very helpful, concise and unpretentious comparative review. I've been doing similar tests on a fairly good system and I think in general terms the Mono sound more immediate, exciting, punchy etc. – but frequently lack clarity. The stereo reveal far more detail in vocal nuance especially harmonies as well as being able to locate separate intruments. Mono scores better where 45rpm singles were concerened Paperback Writer, Revolution, Penny Lane. My advice is that unless you're an obsessive go for the stereo.
However, what's really needed is a program of remixing. This is a highly sensitive issue and I understand why. If anyone wants to hear truly amazing differences listen to the new stereo masters against tracks from Yellow Submarine Songbook (1999) & Let it Be Naked. On hearing these I was won over to the remix idea. The only proviso is that these should never be passed off as or replace the originals, instead issuing them as bonus discs with 'special edition' releases.
October 28th, 2009 at 8:28 pm
I appreciated your comparison test. It helped clarify for me how the average music consumer listens to these releases. That said, I disagree with most of your opinions. No, I'm not on crack (at least last I checked), but I am a musician and have worked in recording and production for decades. I'm not going to bother trying to dissuade you of your opinions, but I do want to make a few points for those who are still deciding.
1. COMPRESSION- the stereo remasters were compressed (no doubt to compensate for the thinness that comes with extreme separation). Compression always makes albums sound more vibrant and “alive”, at least at first blush. This is what you're responding to as “clarity” and “energy”. The only problem is that after several listens the effect can wear thin, and the result is audio fatigue. The industry knows all about this and it serves their purposes perfectly- A new album sounds exciting, so you buy it. After a while it becomes vaguely annoying, and you dump it to buy something new. Planned obsolescence.
I point this out first because a few consumers out there may have some sense of the Beatles as a cultural treasure- something they may want to go back to 5 or 10 (or 20) years later and still get something out of.
2. STEREO- It ain't what it used to be. People no longer realize how primitive the technology was when the Beatles began. Subtle stereo placement of sound was impossible. It was all hard left or hard right. How can a rhythm section sound powerful when it's only coming out of your left speaker? And how can harmonies sound lush when they're only coming out of your right? And when was the last time you saw a band that sounded like that? The Beatles and George Martin knew this. That's why they spent days getting the mono mixes just right, then left the room and let engineers do 20 minute stereo mixes.
By the late '60s the technology was getting advanced enough to start doing decent stereo. That's why Abbey Road is such a well produced album, and they didn't even bother mixing it mono.
A few other points I'd like to make-
All the Beatles songs from the album “Yellow Submarine” were also mixed in mono, and they are spread throughout the Mono collection, since the soundtrack was really just a collection of odds and ends.
There are some stereo mixes that are definitive. Revolution #1 + #9 were only mixed in stereo, so the mono versions are just fold-downs (inaccurate mono imitation). “Don't Pass Me By” in stereo is superior simply because the speed is screwy on the mono version. The opposite is true of Sgt. Pepper- speeds are botched on the stereo version- one of the reasons the mono is superior.
Anyway, if you've got these albums on ipod shuffle with a bunch of 21st century pop, you might want the stereo versions. But if you're looking for albums that sound just better every time you play them, get the mono.
October 29th, 2009 at 12:28 am
I appreciated your comparison test. It helped clarify for me how the average music consumer listens to these releases. That said, I disagree with most of your opinions. No, I'm not on crack (at least last I checked), but I am a musician and have worked in recording and production for decades. I'm not going to bother trying to dissuade you of your opinions, but I do want to make a few points for those who are still deciding.
1. COMPRESSION- the stereo remasters were compressed (no doubt to compensate for the thinness that comes with extreme separation). Compression always makes albums sound more vibrant and “alive”, at least at first blush. This is what you're responding to as “clarity” and “energy”. The only problem is that after several listens the effect can wear thin, and the result is audio fatigue. The industry knows all about this and it serves their purposes perfectly- A new album sounds exciting, so you buy it. After a while it becomes vaguely annoying, and you dump it to buy something new. Planned obsolescence.
I point this out first because a few consumers out there may have some sense of the Beatles as a cultural treasure- something they may want to go back to 5 or 10 (or 20) years later and still get something out of.
2. STEREO- It ain't what it used to be. People no longer realize how primitive the technology was when the Beatles began. Subtle stereo placement of sound was impossible. It was all hard left or hard right. How can a rhythm section sound powerful when it's only coming out of your left speaker? And how can harmonies sound lush when they're only coming out of your right? And when was the last time you saw a band that sounded like that? The Beatles and George Martin knew this. That's why they spent days getting the mono mixes just right, then left the room and let engineers do 20 minute stereo mixes.
By the late '60s the technology was getting advanced enough to start doing decent stereo. That's why Abbey Road is such a well produced album, and they didn't even bother mixing it mono.
A few other points I'd like to make-
All the Beatles songs from the album “Yellow Submarine” were also mixed in mono, and they are spread throughout the Mono collection, since the soundtrack was really just a collection of odds and ends.
There are some stereo mixes that are definitive. Revolution #1 + #9 were only mixed in stereo, so the mono versions are just fold-downs (inaccurate mono imitation). “Don't Pass Me By” in stereo is superior simply because the speed is screwy on the mono version. The opposite is true of Sgt. Pepper- speeds are botched on the stereo version- one of the reasons the mono is superior.
Anyway, if you've got these albums on ipod shuffle with a bunch of 21st century pop, you might want the stereo versions. But if you're looking for albums that sound just better every time you play them, get the mono.
November 10th, 2009 at 12:26 am
As a Recording Engineer and musician who is interested in everything from Steely Dan to Lady Gaga and who still owns the original British versions of Revolver and the White Album I can tell you that I'm still digesting the remastered Beatles. Sgt. Pepper's 'Lucy in the Sky', 'Sgt. Peppers reprise' and especially 'A Day In The Life' in mono blows the stereo version out of the water, but songs like 'Lovely Rita' are “more enjoyable” in stereo. Then again I agree that The White Album is a mix and match between the two, but for me Back in the USSR, Dear Prudence and Helter Skelter are far superior in Mono. I would have to say that when it comes to this particular catalogue, that art of mixing in mono is up against the science of mixing in stereo. I stay with the first.
Now the best version ever made of one of my favorite Beatles songs 'I Am The Walrus' is on the 'LOVE' soundtrack. Yes it's a remix, and oh blasphemy, sometimes I wonder how all of their catalogue would sound re-mixed! Still, I enjoyed the comparison test very much.
November 10th, 2009 at 12:27 am
As a Recording Engineer and musician who is interested in everything from Steely Dan to Lady Gaga and who still owns the original British versions of Revolver and the White Album I can tell you that I'm still digesting the remastered Beatles. Sgt. Pepper's 'Lucy in the Sky', 'Sgt. Peppers reprise' and especially 'A Day In The Life' in mono blows the stereo version out of the water, but songs like 'Lovely Rita' are “more enjoyable” in stereo. Then again I agree that The White Album is a mix and match between the two, but for me Back in the USSR, Dear Prudence and Helter Skelter are far superior in Mono. I would have to say that when it comes to this particular catalogue, that art of mixing in mono is up against the science of mixing in stereo. I stay with the first.
Now the best version ever made of one of my favorite Beatles songs 'I Am The Walrus' is on the 'LOVE' soundtrack. Yes it's a remix, and oh blasphemy, sometimes I wonder how all of their catalogue would sound re-mixed! Still, I enjoyed the comparison test very much.
November 12th, 2009 at 3:48 am
Nice review, but I do think you coupled those first 5 records a little too quick and forgot the mono masters vs the past master's (mono master's includes the new songs from Yellow Sub).
There's a ton of echo on the early singles in the stereo mix that is new that was quite surprising to me when I firest heard the remasters….that can be a preference kind of thing.
Please Please me is punchier by far in mono….
But the biggest of all of them (Magical Mystery Tour–was 2nd and kudos to you to agree) was A Hard Days Night. THis album sounds far far better in mono and frankly I'm surprised that the Beatles now might marginalize this record somewhat with the stereo mix. I mean the stereo mix has great “sound” to it, but unfortunately one of the real key tracks (If I Fell) has a performance in the stereo mix with 2 big errors, one early in the mix and then in the last chorus, Paul's backup vocal ends early and to me distracts from the song….and almost ruins the song to me….
I agree that White album is a track by track….
I would say Rubber Soul in Mono is punchy but a wash (I like hearing the 65 stereo mix alongside the mono mix too–something not mentioned because you can hear the differences, then put in the new stereo mix and see the beauty of the new stereo mix). But mono vs stereo is a wash to me there….Help! has this too, but Rubber Soul's the better record so I won't go there…
The White Album has some plusses for each set….I mean I know Revolution 9 is disrespected amongst beatle fans, but that's first a travesty (it's brilliant non pop by a pop band) and it has never sounded better……but that's the tip of the iceberg. At somepoint I'd like to make a super version mixing the two of my all time favorite album….incidentally for those interested, Pink Floyd a few years back released mono version of Piper At The Gates of Dawn that is mind blowing and got me interesting in needing this set….which hasn't disappointed.
Sgt Pepper's? Revolver? I like that I have them in mono, but I personally think, save for a flair here or there, the stereo is better, fuller.
Magical Mystery Tour's mid brow tracks (Flying, Baby You're a Rich Man, Blue Jay Way, and Your Mother Should KNow) all sound clearly better in mono while the rest is a wash, and it really helps that record's overall impact.
One other thing you neglected to mention int he above is the ridiculously fun and amazing packaging of the mono set. Not only is it limited, but for folks like me born AFTER the LP boom (born in the tape age, but old enough for a music fan in cd land)….
November 30th, 2009 at 5:56 pm
Aw c'mon! They prefaced their review to specifically address the prejudices of the oh-so-high-and-mighty. Guess what–MOST people will listen to the new Beatles releases on some mid-level Sony gear, probably purchased at Best Buy. And this review was no doubt very useful to those it CLEARLY intended to speak to–that is: NOT the so-called “audiophiles”.
January 1st, 2010 at 6:17 pm
I love this article. It's fun.
The 1999 Yellow Submarine Songtrack (which is actually remixed, not merely remastered as noted by Matthew Hitchin below) offers excellent stereo mixes of Yellow Submarine, Hey Bulldog, Eleanor Rigby, Love You To, All Together Now, Lucy in the Sky With Diamonds , Think for Yourself , Sgt. Pepper's Lonely Hearts Club Band , With a Little Help from My Friends, Baby You're a Rich Man, Only a Northern Song, All You Need Is Love, When I'm Sixty-Four, Nowhere Man, and It's All Too Much.
We thought these mixes blew away the five Beatle songs on the new stereo Yellow Submarine CD, and we listened to the real CDs on an awesome home stereo.
January 7th, 2010 at 6:35 pm
Hi there, while I disagree that the first four albums are better in stereo,I grew up hearing the mono mixes on those albums with the 1987 cd's and it made be a nostalgia/memory thing more than a sound issue but for some reason I prefer those in mono. I also agree that magical mystery tour is better in mono. Other than that I really bought into the hype that sgt. pepper, revolver, white album were all better in mono and was severely dissapointed when I bought the mono box and listened to those albums expecting it to be a revelation. On some songs I could barely hear the lead singer and the overrall sound to me is muffled like it's being heard on an AM radio or a cheap record player. I know some people genuinely prefer mono on those albums but for the most part it seems pretentious and intellectual these days to say “Sgt. Pepper is better in mono” and such. To my non-audiophile ears stereo wins 90% of the time.
January 7th, 2010 at 9:43 pm
I guess Lennon and McCartney were/are just pretentious intellectuals, since it was the mono versions they preferred.
April 22nd, 2010 at 2:20 pm
Here are some stereo vs. mono versions you can check out for yourself:
http://themusic.tumbltape.com/mattpayton
April 22nd, 2010 at 6:20 pm
Here are some stereo vs. mono versions you can check out for yourself:
http://themusic.tumbltape.com/mattpayton
May 28th, 2010 at 6:14 pm
Ok, can we all just agree that you music studio people clearly know best and those of us stupid enough to prefer the stereo mixes will suffer eternal misery while you skip hand in hand above with John laughing at how uneducated we are. I mean, have we even considered compression and recording techniques in the 60s?!
May 29th, 2010 at 7:14 am
As a “music studio person” I am very sorry your feelings are hurt. We mean no harm! Feel free to laugh at us in our fancy-pants ivory towers (Where is my ivory tower? – must have missed a payment).
As far as considering “compression and recording techniques in the 60s”, I'm not sure I understand what you mean. I do know that Abbey Road had very good equipment (tape decks, microphones, compressors, mixing boards) and very talented engineers and producers. The one piss poor thing I can think of is their lack of control when mixing in stereo. Every individual track had to be either hard left, hard right, or dead center. Not many choices (at least until '68).
Oh, and John says hi.
May 29th, 2010 at 3:50 pm
I'm sure I'll get over it! With the compression etc I was just referring to other posts that talk about people not understanding how the studios used these things. My point really is that it shouldn't matter. Do I need to know what kind of pan my food was cooked in to make a judgement on how it tastes? Of course not. It might be interesting to find out but it's certainly not imperative. The notion put forward by a lot of commentators on this and other sites suggesting their knowledge of studio techniques/Beatles intentions/songwriting process etc gives them carte blance to belittle others is just rude. If none of us had ever heard of the Beatles and these recordings were discovered in some vault with no info accompanying them whatsoever would so many people still insist the mono mixes were better? I do agree that people might get annoyed slightly by the panning thing but it's a small price to pay.
May 29th, 2010 at 10:01 pm
I agree. And there are certain times–in particular the first couple verses of 'A Day in the LIfe'–where the stereo panning seems almost essential. That's also a big part of the cuteness of 'Her Majesty'. Sure there were subsequent “improvements” in stereo mixing, as well as an evolution of taste throughout the seventies that came to favor a more subtle blending, but hey! It is what it is. It's not an Eagles or a Jackson Browne album.
May 30th, 2010 at 2:01 am
I agree. And there are certain times–in particular the first couple verses of 'A Day in the LIfe'–where the stereo panning seems almost essential. That's also a big part of the cuteness of 'Her Majesty'. Sure there were subsequent “improvements” in stereo mixing, as well as an evolution of taste throughout the seventies that came to favor a more subtle blending, but hey! It is what it is. It's not an Eagles or a Jackson Browne album.
July 14th, 2010 at 3:08 am
For the most part I prefer stereo mixes on proper equipment for the space it gives… with some exceptions.. and a few observations.
Taxman – Hands down MONO. This is a straight ahead song that feels so lopsided in stereo as the main riff pummels just one ear.
Paperback writer also suffers something similar in stereo and in the mono mix you can hear cool vocal effects.
Eleanor Rigby – Mono on this one but mostly because the mixing is so flawed and much talked of, yet it has not be corrected. Paul's vocals being jarred twice instead of smoothly panned. Ruins it for me and I haven't even tried it on headphones. Staying safe with mono.
Sgt Peppers album – I do appreciate the mono mix.. but also the stereo mix for opening things up. In fact I don't need to hear A Day in the Life in mono ever again. The layers of this song and its general nature warrant as much dimension as possible.
Magical Mystery Tour tracks are strange.. The mono mixes feel full in a way but stereo gives them more space for their oddities. Paul's vocals in Fool On the Hill are more haunting in stereo. And in Penny Lane I like the horns and dinging of the bell rising out at me.
Revolution (single version) – This one is probably best heard in mono for the sake of the centered driving guitar. The stereo mix makes if flimsy.
White Album – Mono baby for pretty much all of it. Stereo weakens many of these songs drastically. Why? Because of the acoustic nature. So many of these songs are the sound of someone sitting directly in front of you in an intimate setting, not jumping around the room trying to get at you from every angle. I would say “you haven't heard the White Album til you've heard it in mono.”
Thanks for reading.
August 26th, 2010 at 10:47 pm
The mono mixes have nearly no eq or limiting, so they sound very similar to the original 60s releases. The stereo mixes have a lot of eq and limiting to make them sound suitable for todays audience. This is why the bass sounds muddy to your ears in mono. The mono mixes don’t compress to mp3 at all well either.
I can see where you’re coming from with liking the separation that the stereo brings, but it’s just not how 60s rock was supposed to sound. Stereo was a novelty in the early 60s, like 3D films are now. Stereo mixes were crude, to show off the fact there are 2 speakers.
The stereo mixes were always done later than the monos (apart from the white album), sometimes months later, and the Beatles were never present for the sessions. Because they were done at a later date, the engineer often forgot effects that were done at the mix down stage and occasionally got the wrong take (e.g. Help).
It’s worth noting that the Help and Rubber Soul stereo mixes were done by George Martin in 1987. The original stereo mixes of these are truly awful (hence his insistance on remixing them!)
Basically if you’re a fan listen to the mono mixes and if you’re a casual listener buy the stereo mixes.
I think the albums would benefit greatly from new stereo mixes, with the original unbounced tapes digitally synchronised (like the stereo mix of Pet Sounds). This would really bring the Beatles bang up to date for the casual listener. However I think it’ll be a while before that ever happens.