Beatles Review – Please Please Me Remastered CDs

posted by Rob on September 23, 2009 at 12:40 am | Comments (27)

Please Please Me was The Beatles’ first album, originally released in England on March 22, 1963. Just like in my Abbey Road remastered review, I’ve listened to the old mono Please Please Me CD and the new mono and stereo remastered versions – as well as the stereo versions of each song from the 2004 and 2006 The Capitol Albums boxed sets – several times on my computer through headphones (Sony MDR-CD570) and on my home stereo system through speakers (Yamaha HTR-5540 receiver, JVC XV-523 DVD/CD player, and EPI T/E 100 Series II speakers). Just to recap, the audio from my DVD player is connected to my receiver using a digital cable. My headphones and speakers are able to reproduce clean, strong low frequencies, crisp, clear high frequencies, and an even tone in between. I know this isn’t the most expensive, high-end audiophile equipment ever created, but it’s still a nice setup and allows me to study all of the details of the music I’m listening to.

While the remastered Abbey Road CD sounded very similar to the 1987 one and left me disappointed, the remastered Please Please Me CDs sound mostly better than the previously released one. Read on…

The Packaging

Please Please Me by The Beatles (2009 mono and stereo remastered CDs, front) – click to enlarge

The remastered mono Please Please Me CD comes in a simple cardboard sleeve inside of a resealable clear plastic sleeve and features the original album artwork on the front and back. The disc itself comes in a plastic sleeve inside the cardboard sleeve. There’s also an Emitex paper sleeve the disc can go in, which I assume is a replica of the original vinyl record sleeve from 1963:

Please Please Me by The Beatles (2009 mono remastered CD, Emitex paper sleeve) – click to enlarge

The remastered stereo CD comes in a foldout cardboard sleeve and features the original album artwork on the front, but a redesigned back:

Please Please Me by The Beatles (2009 mono vs. stereo remastered CDs, back) – click to enlarge

Inside the stereo foldout sleeve are more photos of the band, plus two pockets: one to hold a booklet featuring linear notes and photos and the other to hold the CD:

Please Please Me by The Beatles (2009 stereo remastered CD, inside) – click to enlarge

Please Please Me by The Beatles (2009 stereo remastered CD, inside) – click to enlarge

The disc itself now resembles the original Parlophone record label, as opposed to the 1987 disc’s no-frills treatment. Nice touch!

Again, I like the cardboard sleeves because they introduce less plastic into our environment, but I know that if I handled them on a regular basis, they’d eventually get damaged and fall apart, whereas my plastic jewel cases from the 1980s are still in good shape. I don’t have to worry though because now that the CDs are ripped to my computer, I’ll hardly ever touch the sleeves (or the discs) again. From now on, I’ll listen to the songs on my computer, listen to them on my portable MP3 player, or connect my MP3 player to my stereo system and listen to them that way.

The Remastering

The remastering on this album is probably the best it’s going to get. There’s no brickwall limiting (for the most part) and none of the peaks reach 0.0 dB, which is great, especially in today’s world of clipped and distorted music CDs. The highest peaks reach -0.3 dB on the stereo CD and -0.09 dB on the mono CD, which could still introduce distortion on some devices, but this is far better mastering than any CD I’ve bought in the last decade or so. Here’s the waveform of the 2009 stereo remastered version of “Twist and Shout”:

The Beatles “Twist and Shout” stereo remastered waveform (2009) – click to enlarge

To compare, here’s the waveform from the stereo remastered version of “Twist and Shout” on The Early Beatles CD, released in 2006 in The Capitol Albums, Volume 2 boxed set:

The Beatles “Twist and Shout” The Early Beatles stereo remastered waveform (2006) – click to enlarge

The Capitol Albums boxed sets were definitely victims of the loudness war. That version of “Twist and Shout” is missing 3.56 decibels of dynamic range compared to the 2009 remastered version, plus the low and high frequencies have been boosted too much.

Here’s the waveform from the original mono Please Please Me CD, released in 1987:

The Beatles “Twist and Shout” 1987 mono waveform – click to enlarge

When I adjust the peaks of the 1987 version to reach 0.0 dB, the average level is -12.08 decibels. That means the 2009 mono version features an additional 0.41 decibels of dynamic range and the stereo version features an additional 2.14 decibels. That’s great!

On average, the mono remastered CD features an additional 0.5 dB of overall dynamic range compared to the Please Please Me CD from 1987 and the stereo remastered CD features an additional 3 dB of overall dynamic range compared to the stereo The Early Beatles CD from 2006.

The Songs

Here’s my rundown of the various CD versions of each song:

1. “I Saw Her Standing There”

MONO: The 1987 and 2009 remastered versions sound very similar and feature roughly the same amount of dynamic range. The remastered version has a slightly longer fadeout, which reveals a faint click or drum stick noise at the very end.

STEREO: The version on the Meet the Beatles CD from The Capitol Albums, Volume 1 boxed set is severely compressed and features a significant boost in the low and high frequencies, which makes the song sound too harsh and causes a low frequency rumble throughout. The 2009 remastered version features an additional 3.12 dB of dynamic range and the rumble is no longer present. It’s the better sounding version.

A brief drumstick click or hi-hat tap in the left channel at the very beginning of the 2006 stereo version has been removed in the 2009 stereo version.

Here’s an audio clip comparing the stereo 2006 version (first) to the stereo remastered 2009 version (second). In the very beginning of this clip, you can hear the click/tap in the left channel:

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
50 second MP3 file – 1.9 MB (right-click to save)

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2. “Misery”

MONO: The 2009 remastered version features a boost in the low and high frequencies. It sounds a bit crisper and more powerful than the 1987 version. Also, the 1987 version features minor tape dropout in the intro, which has been fixed in the 2009 version. The 2009 version features a slightly longer fade-out, which reveals a faint noise at the very end, like someone dropped something. Both versions feature roughly the same amount of dynamic range.

STEREO: The remastered version sounds very good, but I noticed some hard limiting in the right channel during the piano sections. It’s fairly minor, but I feel the need to point it out. “Misery” hasn’t been released in stereo on CD before, so I have no other version to compare this one to.

- – -

3. “Anna (Go To Him)”

MONO: The 2009 remastered version has a slight boost in the high frequencies and sounds a bit clearer now. Both versions feature roughly the same amount of dynamic range.

STEREO: The version on The Early Beatles CD from The Capitol Albums, Volume 2 boxed set is severely compressed and features an extreme boost in the low and high frequencies. That version sounds crisp and powerful, but a bit harsh. The 2009 version features an additional 4.86 dB of dynamic range and less distortion. It doesn’t sound as modern or as forceful as the Capitol version, but it’s easier on the ears.

Part of me prefers the Capitol version’s more rock-oriented equalization, even though I know the new remastered version is technically far superior. Maybe I’ll change my mind as I get used to the new version.

Here’s an audio clip comparing the stereo 2006 version (first) to the stereo remastered 2009 version (second):

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
49 second MP3 file – 1.9 MB (right-click to save)

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4. “Chains”

MONO: The 2009 remastered version has a boost in the high frequencies and sounds clearer now. The vocals and hi-hats are crisper and have more prescence. This version is much better than the old 1987 version. Also, the fadeout is slightly longer now. Both versions feature roughly the same amount of dynamic range.

STEREO: The version on The Early Beatles CD features an extreme boost in the low and high frequencies, so at first, it seems clearer and more powerful than the new 2009 version. However, the 2009 version features an additional 3.03 dB of dynamic range, less distortion, and sounds less harsh and aggressive.

Here’s an audio clip comparing the mono vs. stereo 2009 remasters:

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
59 second MP3 file – 2.3 MB (right-click to save)

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5. “Boys”

MONO: The 2009 remastered version has a slight boost in the high frequencies and sounds slightly clearer than the old 1987 version. It also features an additional 0.83 dB of dynamic range.

STEREO: The version on The Early Beatles CD features an extreme boost in the low and high frequencies, so at first, it seems clearer and more powerful than the new 2009 version. However, the 2009 version features an additional 5.14 dB of dynamic range, less distortion, and sounds less harsh and aggressive. Here’s an audio clip comparing the stereo 2006 version (first) to the stereo remastered 2009 version (second):

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
50 second MP3 file – 1.9 MB (right-click to save)

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6. “Ask Me Why”

MONO: The 1987 and 2009 remastered versions sound nearly identical, but the remaster seems to have a very slight boost in the high frequencies. Minor vocal plosives around 0:52 and 1:52 (the “p” in “happened”) were reduced in the remastered version. Both versions feature roughly the same amount of dynamic range.

I noticed something weird in the 2009 version. From 1:26 to 2:10, I hear an intermittent grating, high-pitched tape defect or distortion that isn’t present in the 1987 version or the stereo version. It sounds similar to fingernails scratching a blackboard. Does anyone else hear that noise? It’s faint, but it’s most noticeable around 1:26 and around 2:07.

STEREO: The version on The Early Beatles CD is severely compressed and features an extreme boost in the low and high frequencies, which makes the song sound too harsh. The 2009 version features an additional 3.88 dB of dynamic range and less distortion. It’s the better sounding version.

Here’s an audio clip comparing the 1987 version (first) to the mono 2009 version (second). Listen for the weird high-pitched distortion around 27 seconds into the clip and onward (headphones should help):

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
49 second MP3 file – 1.9 MB (right-click to save)

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7. “Please Please Me”

MONO: The 2009 remastered version is much, much clearer than the 1987 version, especially in the high frequencies. The tone is more evenly balanced now, there’s more presence, and there’s less distortion. The 1987 version had over-emphasized mid-range frequencies, weak high frequencies, and sounded awful, as if it were recorded off an old transistor radio. Was the 1987 version the result of too much noise reduction? If so, that doesn’t make sense because there isn’t an unusual amount of tape hiss in the remastered version. Both versions feature roughly the same amount of dynamic range.

STEREO: The version on The Early Beatles CD features a boost in the low and high frequencies. This makes the song sound more modern, but it also makes it sound too harsh. The 2009 version features an additional 2.52 dB of dynamic range and much less distortion. As a result, the harmonica overdubs are more noticeable now, but it’s the better sounding version overall.

Here’s an audio clip comparing the 1987 version (first) to the mono 2009 version (second):

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
58 second MP3 file – 2.2 MB (right-click to save)

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8. “Love Me Do”

MONO: The 2009 remastered version sounds clearer than the 1987 version. Like “Please Please Me,” the tone is more evenly balanced, there’s more presence, and everything sounds more defined and crisp. Again, it seems like the 1987 version had too much noise reduction applied, which is strange because there isn’t an unusual amount of tape hiss in the remastered version. Either that, or the tone in the old version was just very poorly equalized. It sounds much better now. Both versions feature roughly the same amount of dynamic range.

STEREO: A stereo mix of “Love Me Do” doesn’t exist. In the version on The Early Beatles CD, the high frequencies have been cut in the left channel and the low frequencies have been cut in the right channel in an attempt to simulate stereo. This mock stereo technique doesn’t work and ends up sounding annoying, especially in headphones.

The mono remastered version on the 1 CD from 2000 sounds very good, but is slightly thin compared to the 2009 version. This new version is probably the best sounding version we’re going to get. Just to clarify, the stereo remastered Please Please Me CD features “Love Me Do” in mono.

Here’s an audio clip comparing the 1987 version (first) to the mono 2009 version (second):

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
42 second MP3 file – 1.6 MB (right-click to save)

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9. “P.S. I Love You”

MONO: The 2009 remastered version features a boost in the high frequencies and a more balanced tone overall. It sounds much clearer and fresher than the old 1987 version. Once again, my guess is too much noise reduction was applied to the 1987 version, though there isn’t an unusual amount of tape hiss in the remastered version, so I don’t understand why. Both versions feature roughly the same amount of dynamic range.

The remastered version fades out slightly faster than the 1987 version.

STEREO: A stereo mix of “P.S. I Love You” doesn’t exist. In the version on The Early Beatles CD, the high frequencies have been cut in the left channel and the low frequencies have been cut in the right channel in an attempt to simulate stereo. Like that version of “Love Me Do,” this mock stereo technique doesn’t work and ends up sounding annoying, especially in headphones.

Again, this new 2009 version is probably the best sounding version we’re going to get. Just to clarify, the stereo remastered Please Please Me CD features “P.S. I Love You” in mono.

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10. “Baby It’s You”

MONO: The 1987 and 2009 remastered versions sound nearly identical and feature roughly the same amount of dynamic range. The remastered version has a slight boost in the high frequencies and sounds slightly clearer now. The remastered version also features a slightly longer fadeout.

STEREO: The version on The Early Beatles CD is over-compressed and features a significant boost in the low and high frequencies, which makes the song sound too harsh. The 2009 version features an additional 2.32 dB of dynamic range and less distortion. It’s the better sounding version.

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11. “Do You Want to Know a Secret”

MONO: The 1987 and 2009 remastered versions sound nearly identical and feature roughly the same amount of dynamic range. Low frequency rumble/hum was removed from the intro in the remastered version.

STEREO: As usual, the version on The Early Beatles CD is over-compressed and features a significant boost in the low and high frequencies, which makes the song sound too harsh. The 2009 version features an additional 2.11 dB of dynamic range and less distortion. A low frequency rumble/hum has been removed from the intro as well. It’s the better sounding version.

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12. “A Taste of Honey”

MONO: The 2009 remastered version features a very slight boost in the high frequencies and a slight cut in the mid-range frequencies, plus it features an additional 2.5 dB of dynamic range. As a result, it sounds a bit crisper and more balanced than the 1987 version.

STEREO: As usual, the version on The Early Beatles CD is over-compressed and features a significant boost in the low and high frequencies, which makes it sound too harsh. The 2009 version features an additional 2.25 dB of dynamic range and less distortion. It’s the better sounding version.

A faint creaking noise during the fadeout in The Early Beatles CD version has been removed from the 2009 remaster.

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13. “There’s a Place”

MONO: The 1987 and 2009 remastered versions sound nearly identical, though the remastered version features an additional 1.4 dB of dynamic range.

STEREO: The remastered version sounds very good, just like the other songs on the new CD. “There’s a Place” hasn’t been released in stereo on CD before, so I have no other version to compare this one to.

Here’s an audio clip comparing the mono vs. stereo 2009 remasters:

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
59 second MP3 file – 2.3 MB (right-click to save)

- – -

14. “Twist and Shout”

MONO: The remastered version has a slight boost in the low and high frequencies and sounds a bit clearer and more powerful than the old 1987 version. Both versions feature roughly the same amount of dynamic range.

STEREO: The version on The Early Beatles CD is severely compressed and features an extreme boost in the low and high frequencies. In a way, it seems clearer and more powerful than the new 2009 version. However, the 2009 version features an additional 3.56 dB of dynamic range and less distortion. As a result, it’s more pleasing to listen to.

The Mini-Documentary

Please Please Me by The Beatles (2009 stereo remastered CD, mini-documentary) – click to enlarge

Included on the stereo remastered Please Please Me CD is a 3:50 mini-documentary that can be played on a computer. It’s comprised of film clips, moving photographs, brief studio chatter, and comments from George Martin, Paul McCartney, John Lennon, Ringo Starr, and George Harrison. The video can be played in a small window or in a much larger “fullscreen” mode.

For someone like me who’s a huge Beatles fan, the best part of the documentary was getting to hear the few snippets of studio chatter and seeing several seconds of The Beatles performing at The Cavern.

Please Please Me by The Beatles (2009 stereo remastered CD, mini-documentary) – click to enlarge

As with Abbey Road, the mini-documentary is a nice inclusion, but don’t expect more than a few interesting photos and sound bites. I don’t mind though, because I bought the new CDs to listen to the music.

Closing Comments

After I reviewed the new Abbey Road CD, part of me was afraid to listen to the rest of the remastered albums. Would they all sound so similar to the original 1987 CDs? Did I waste my money by buying all of these new versions? In the case of Please Please Me, I’m happy to report the answer is no.

The new mono and stereo CDs sound great, but they aren’t 100% perfect. There’s a touch of brickwall limiting in the stereo version of “Misery.” This is the first time “Misery” is available on CD in stereo, which is great, but I still have to point out the minor shortcoming. There’s also a grating, high-pitched tape defect or distortion in parts of the mono version of “Ask Me Why,” which isn’t present in the 1987 version or the stereo remastered version. It’s strange and I really want to know if anyone else notices it.

Either way, I’ll be replacing the new mono “Ask Me Why” with the 1987 version on my portable MP3 player. They sound very similar otherwise, so it’s not a big deal.

Should you drop everything, rush to the store, and immediately buy this new CD? If you’re a fan of the stereo mixes, then yes. The stereo CD sounds great overall. Compared to the versions in The Capitol Albums boxed sets, the tone is more balanced and the album has been mastered much more sensitively, preserving several decibels more dynamic range.

If you aren’t a fan of the stereo mixes and you don’t plan on buying the mono boxed set, then you’ll have to be satisfied with the mostly inferior 1987 CD. Other than the weird noise throughout the second half of “Ask Me Why,” the mono remastered CD sounds crisper, clearer, and fresher, especially “Please Please Me,” “Love Me Do,” and “P.S. I Love You.” It’s too bad it isn’t available separately.

I still prefer the stereo mixes because I can hear the instruments more clearly and there’s a sense of space that mono just can’t provide. However, these clearer mono mixes are growing on me and are much more enjoyable to listen to than the 1987 versions. At this point, it’s a matter of personal preference, as both remastered versions sound fantastic overall.

With Abbey Road, the biggest difference between the old and new CDs was loudness. With Please Please Me, the loudness between the 1987 CD and the new 2009 CDs is very similar. In this case, the biggest difference is an increase in clarity – some songs much more than others.

My faith in this whole remastering project has been restored and I’m excited to compare the rest of the CDs. I’ll post my next review soon!

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Unboxing My Beatles Boxed Sets

posted by Rob on September 17, 2009 at 2:11 pm | Comments (11)

They’ve arrived! (And to prove it, they’re here.)

I just got back from the post office after waiting in line for what seemed like an hour. Finally, I have the Beatles mono and stereo remastered CD boxed sets:

Flickr – Unboxing my Beatles boxed sets, Jersey City, NJ 9/17/09

The two sets contain 29 CDs in all, plus one booklet and one DVD. The mono set contains 11 albums (13 CDs) and the booklet. The stereo set contains 14 albums (16 CDs) and the mini-documentary DVD. (The Beatles and Past Masters are double albums included in both sets.)

The mono CDs and booklet come packaged in a square glossy white box. The section that actually holds the discs and booklet slides in and out. It’s clean and simple.

The stereo CDs and documentary DVD come packaged in a rectangular glossy black foldout box. There are little magnets embedded in the flap and the side of the box, so it “snaps” shut. I like that. The discs are stored in two wells, each one featuring a ribbon that can be pulled up for easy access to the discs at the bottom without ruining their cardboard sleeves. I like that, too.

It turns out the CDs in the stereo boxed set come in the same foldout cardboard sleeves as the individual versions. The mono CDs come in simple cardboard sleeves inside resealable clear plastic sleeves.

As you can see in my Flickr photo set, the mono and stereo versions of the Beatles’ albums feature different layouts on the back. It seems like the backs of the mono CDs feature the original vinyl artwork, while the backs of most of the stereo CDs have been redesigned. Am I correct?

2009 mono (left) vs. stereo (right) CD backs, click each to enlarge

I still have some work I need to finish this afternoon, but I will post my review of another one of the albums tomorrow. Just like in my Abbey Road review, I’ll post plenty of pictures, waveforms, and audio comparison samples for each CD.

Which album should I tackle next?

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Beatles Review – Abbey Road Remastered CD

posted by Rob on September 14, 2009 at 1:38 am | Comments (53)

I still have about a week to go before my Beatles boxed sets arrive, but in the meantime, I broke down and bought the remastered version of Abbey Road (originally released in 1969) for $13 at J&R Music World, just so I’ll know what to expect from this whole project and to let everyone know how it compares to the original 1987 CD.

I’ve listened to the old Abbey Road CD and this new remastered version several times on my computer through headphones (Sony MDR-CD570) and on my home stereo system through speakers (Yamaha HTR-5540 receiver, JVC XV-523 DVD/CD player, and EPI T/E 100 Series II speakers). The audio from my DVD player is connected to my receiver using an optical digital cable. My headphones and speakers are able to reproduce clean, strong low frequencies, crisp, clear high frequencies, and an even tone in between. True, this isn’t the most expensive, high-end audiophile equipment ever created, but it’s still a nice setup and allows me to study all of the details of the music I’m listening to.

With all of the hype and praise surrounding the Beatles remasters, I was expecting to be blown away by the improvement in sound quality on the 2009 CD vs. the 1987 CD. As much as I want to believe that this new version is a huge improvement, it simply isn’t. A few of the songs sound slightly better, a few of the songs sound identical, and a few of the songs sound slightly worse. Read on…

The Packaging

Abbey Road by The Beatles (1987 CD vs. 2009 remastered CD, front) – click to enlarge

I don’t know how it’s packaged in the boxed set (UPDATE September 22, 2009: the stereo CDs are packaged the same individually as they are in the boxed set), but the individual remastered Abbey Road CD comes in a foldout cardboard sleeve and features the original album artwork on the front and back. The CD that was released in 1987 features a slightly cropped version of the front of the album and a severely cropped version of the back:

Abbey Road by The Beatles (1987 CD vs. 2009 remastered CD, back) – click to enlarge

I like the cardboard sleeve because it introduces less plastic into our environment, but I know that if I handled it on a regular basis, it’d eventually get damaged and fall apart, whereas my plastic jewel cases from the 1980s are still in good shape. I don’t have to worry though because now that the CD is ripped to my computer, I’ll hardly ever touch the sleeve (or the disc) again. From now on, I’ll listen to the songs on my computer, listen to them on my portable MP3 player, or connect my MP3 player to my stereo system and listen to them that way.

Inside the sleeve are more photos of the band, plus two pockets: one to hold a booklet featuring linear notes and photos and the other to hold the CD. It also includes an advertisement for the boxed sets and The Beatles: Rock Band video game:

Abbey Road by The Beatles (2009 remastered CD, inside) – click to enlarge

Abbey Road by The Beatles (2009 remastered CD, inside) – click to enlarge

The disc itself now resembles “Side 1″ of an old Apple record label, as opposed to the 1987 disc’s no-frills treatment. Nice touch!

The Remastering

On a technical level, the remastering on this album has put my mind at ease regarding the loudness war. There’s no obvious brickwall limiting and none of the peaks reach 0.0 dB, which is great, especially in today’s world of clipped and distorted music CDs. The highest peaks on this album reach -0.24 dB, which could still introduce distortion on some devices, but this is far better mastering than any CD I’ve bought in the last decade or so. Here’s the waveform of the 2009 remastered version of “Come Together”:

The Beatles “Come Together” remastered waveform (2009) – click to enlarge

To compare, here’s the waveform of “The Fact Remains” from Juliana Hatfield’s 2008 CD How to Walk Away:

Juliana Hatfield “The Fact Remains” waveform (2008) – click to enlarge

As you can see, “Come Together” by The Beatles was properly mastered and “The Fact Remains” by Juliana Hatfield wasn’t. “The Fact Remains” is a catchy, straightforward pop rock song, not a hard-core heavy metal song, so why is it 3.26 decibels louder than “Come Together”? That extra loudness came at the expense of dynamic range and sound quality. It’s another case of a great song ruined by poor mastering.

Here’s the waveform from the digitally remastered version of “Come Together” on the Beatles 1 CD, released in 2000:

The Beatles “Come Together” 1 remastered waveform (2000) – click to enlarge

The 1 CD was definitely a victim of the loudness war. That version of “Come Together” is missing 3.57 decibels of dynamic range compared to the 2009 remastered version and the peaks reach -0.01 dB instead of -0.37 dB. It’s even slightly louder than “The Fact Remains.” Additionally, there’s a boost in the mid-range frequencies that isn’t present in the 1987 or 2009 versions. This is easily the worst sounding version of the three.

For comparison’s sake, here’s the waveform from the original Abbey Road CD, released in 1987:

The Beatles “Come Together” 1987 waveform – click to enlarge

When I adjust the peaks of the 1987 version to reach 0.0 dB, the average level is -15.36 decibels. That means the 1987 version features an additional 1.37 decibels of dynamic range vs. the 2009 remaster. In theory, this is disappointing because I wanted the remastered version to preserve even more dynamic range than the old version, not less. In reality though, the difference is so small that it isn’t noticeable.

The Songs

Here’s my rundown of the various CD versions of each song:

1. “Come Together”

The 1987 CD version features the most dynamic range and has the most even, balanced tone. The low frequencies are clear and the song sounds crisp and alive. The 2009 remastered version features almost as much dynamic range as the 1987 version and sounds nearly identical. I noticed a very slight boost in the low frequencies and a very slight cut in the high frequencies. Overall, the bass and drums are slightly less defined and the song is slightly less crisp. This version still sounds good, but it isn’t an improvement over the old version.

The 1 version from 2000 features the least dynamic range and the mid-range frequencies have been boosted. As a result, the drums and bass lack the warmth and impact from the 1987 version and the song lacks clarity overall. The bluesy, mysterious magic is gone. This is the worst sounding version of the three.

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2. “Something”

The 2009 version features just as much dynamic range as the 1987 version. I noticed a very slight boost in low frequencies, high frequencies, and overall presence, resulting in a slight improvement over the old version. The snare drum and vocals are definitely crisper now. Also, it’s barely noticeable, but the left channel is slightly louder and the right channel is slightly softer than before.

Again, the 1 version from 2000 features the least dynamic range out of the three.

Here’s an audio clip comparing the 1987 version (first) to the remastered 2009 version (second):

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
30 second MP3 file – 1.2 MB (right-click to save)

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3. “Maxwell’s Silver Hammer”

The 2009 and 1987 versions sound almost identical and feature nearly the same amount of dynamic range. The remaster features a slight boost in the low frequencies and a slight cut in the high frequencies.

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4. “Oh! Darling”

The remastered version features nearly as much dynamic range as the 1987 version. The tone is slightly more balanced, with a tiny boost in the low frequencies and a tiny cut in the mid-range and high frequencies. The new version is a minor improvement over the old version, but it’s barely noticeable. Here’s an audio clip comparing the 1987 version (first) to the remastered 2009 version (second):

Listen:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:
34 second MP3 file – 1.3 MB (right-click to save)

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5. “Octopus’s Garden”

Once again, the remastered version sounds almost identical to the 1987 version and both feature the same amount of dynamic range. The remastered version features a slight boost in the high frequencies. Also, the left channel is slightly louder and the right channel is slightly softer than before, so the lead guitar is more centered now. I suppose the 2009 version is an improvement overall, but just barely.

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6. “I Want You (She’s So Heavy)”

Even though the remastered version is missing 1.35 dB of dynamic range compared to the 1987 version, they both sound nearly identical.

Also, one of my readers Wayne pointed out to me: from roughly 16 seconds to 17.5 seconds, the 1987 version features an extremely subtle hum in the low frequencies that was removed from the 2009 remastered version. When I listen very closely to the old version, I can hear the faint hum and Ringo keeping the beat softly in the left channel during the rest after John’s “I want you…” In the new version, the hum is gone, which is fine, but Ringo’s soft tapping has become practically inaudible. It doesn’t ruin the song at all, but I thought it was worth mentioning anyway.

Here’s an audio clip comparing the 1987 version (first) to the remastered 2009 version (second). Listen closely for Ringo’s tapping around six seconds in:

Listen:

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27 second MP3 file – 1.0 MB (right-click to save)

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7. “Here Comes the Sun”

The remastered version is missing 2.05 dB of dynamic range compared to the 1987 version. There’s also a very slight boost in the low frequencies. Overall though, both versions sound nearly identical.

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8. “Because”

The remastered and 1987 versions feature roughly the same amount of dynamic range. Overall, both versions sound nearly identical.

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9. “You Never Give Me Your Money”

Even though the remastered version is missing 0.95 dB of dynamic range compared to the 1987 version, they both sound nearly identical.

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10. “Sun King”

In this case, the remastered version features a 0.78 dB increase in dynamic range compared to the 1987 version. Overall, both versions sound nearly identical.

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11. “Mean Mr. Mustard”

The remastered version is missing 1.48 dB of dynamic range compared to the 1987 version. There’s also a slight cut in the high frequencies. As a result, the song doesn’t sound as crisp as the old version, especially the drums. Here’s an audio clip comparing the 1987 version (first) to the remastered 2009 version (second):

Listen:

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32 second MP3 file – 1.3 MB (right-click to save)

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12. “Polythene Pam”

The remastered and 1987 versions feature roughly the same amount of dynamic range. There’s a very slight cut in the high frequencies, but both versions sound nearly identical.

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13. “She Came in Through the Bathroom Window”

Again, the remastered and 1987 versions feature the same amount of dynamic range. In the remastered version, there’s a slight boost in the low frequencies and a slight cut in the high frequencies. I noticed the remastered version sounds duller than the 1987 version. The old version sounds crisper and punchier, especially the drums, percussion, and vocals. Here’s an audio clip comparing the 1987 version (first) to the remastered 2009 version (second):

Listen:

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34 second MP3 file – 1.3 MB (right-click to save)

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14. “Golden Slumbers”

Even though the remastered version is missing 0.82 dB of dynamic range compared to the 1987 version, they sound nearly identical.

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15. “Carry That Weight”

Even though the remastered version is missing 0.7 dB of dynamic range compared to the 1987 version, they sound nearly identical.

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16. “The End”

The remastered version is missing 1.19 dB of dynamic range compared to the 1987 version. There’s also a slight boost in the low frequencies and a slight cut in the mid-range frequencies. Also, the left channel is slightly louder and the right channel is slightly softer than before.

Overall, the section with the guitar solos doesn’t sound as crisp now. The three guitars sound slightly duller and quieter, the snare drum isn’t as defined, and the hi-hats have a bit less presence. This version isn’t bad, but it isn’t quite as clear and exciting as the old one. Here’s an audio clip comparing the 1987 version (first) to the remastered 2009 version (second):

Listen:

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35 second MP3 file – 1.3 MB (right-click to save)

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17. “Her Majesty”

In this case, the remastered version features a 1.4 dB increase in dynamic range compared to the 1987 version. Overall, both versions sound nearly identical.

The Mini-Documentary

Abbey Road by The Beatles (2009 remastered CD, mini-documentary) – click to enlarge

Included on the remastered Abbey Road CD is a 3:53 mini-documentary that can be played on a computer. It’s comprised of film clips, moving photographs, brief studio outtakes, and comments from Paul McCartney, George Martin, John Lennon, Ringo Starr, and George Harrison. The video can be played in a small window or in a much larger “fullscreen” mode.

For someone like me who’s a huge Beatles fan, the best part of the documentary was getting to hear outtakes I’ve never heard before. I’m fascinated by that kind of behind-the-scenes audio from their recording sessions and would love it if more was available. I know most people would find this pointless and borderline psychotic, but I bet I could listen to every Beatles tape in EMI’s vault from beginning to end, take after take, and not get bored.

Abbey Road by The Beatles (2009 remastered CD, mini-documentary) – click to enlarge

The mini-documentary is a nice inclusion, but don’t expect more than a few interesting photos and sound bites. It’s okay though, I bought the CD to listen to the music.

Closing Comments

The Beatles remasters have been praised so much these last two weeks that I was expecting to experience this album like never before. I wanted so badly for that to be true, but it just isn’t the case. I was planning on posting waveform comparison images of every song from both versions of the album, but they look so similar to each other after being normalized that there’s no point.

Yes, three songs sound slightly better now (“Something,” “Oh! Darling,” and “Octopus’s Garden”), but three songs sound slightly worse (“Mean Mr. Mustard,” “She Came in Through the Bathroom Window,” and “The End”). I’m on the fence about “Come Together.” I prefer the slightly more defined bass and drums in the 1987 version, but I know that a lot of people prefer more emphasized bass these days, even if it means sacrificing some low end clarity.

Should you drop everything, rush to the store, and immediately buy this new CD? Not necessarily. If you already own the old Abbey Road CD, you’re fine. You aren’t missing out on anything major, which means either the new CD could’ve been mastered better or the old CD was mastered almost perfectly.

The reviewers and fans who claim this new version sounds better than ever haven’t listened to the old version recently, because that version still sounds fantastic. The biggest difference between the two CDs is loudness. Most of the songs on both versions feature roughly the same amount of dynamic range, but the peaks in the remastered CD are higher than in the 1987 one. What does that mean? Basically, if you turn the volume up a notch or two while playing your 1987 Abbey Road CD, it’ll mostly sound just as good as (and in a few cases better than) the remastered version.

At first, I was disappointed that this new, hyped up version sounded almost identical to the supposedly inferior 1987 version, but then I realized the Beatles’ earlier albums probably benefited from the remastering much more than Abbey Road did. I can only assume albums like Please Please Me, With the Beatles, and Beatles for Sale were mastered more sensitively than their Capitol Albums Vol. 1 and Vol. 2 counterparts and were transferred from even better sources. I have a feeling those will be some of the real gems of this four-year-long project. I’ll find out once my boxed sets arrive.

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My Beatles Remastered Review, Coming Soon (I Hope!)

posted by Rob on September 10, 2009 at 12:19 pm | Comments (1)

I received an email from Amazon on Tuesday, September 8, 2009, that my Beatles mono and stereo boxed sets have been shipped! When I pre-ordered them several weeks ago, I chose Amazon’s free (slow) shipping in order to save a little money. Yes, I was extremely excited to hear what the remastered songs sound like, but I’ve waited this long and figured a few extra days wouldn’t hurt.

I scrolled down to read the rest of the email and couldn’t believe my eyes. Evidently, in all of my excitement, I must’ve accidentally clicked my family’s address instead of my own because it turns out my boxed sets are being mailed to their address, 725 miles away from mine. I told my mom and asked her to please mail the package to me as soon as she receives it.

So, I was hoping to start posting my impressions of the remastered CDs next week, but now it’ll probably be another week after that until I’m even able to listen to them. D’oh!

I’m going to try to be patient during these next couple of weeks. I promise, as soon as I get my hands on the sets, I’ll post detailed comparisons between the 1987 and 2009 CDs, as well as mono vs. stereo. Expect full write-ups, with audio clips and waveform images.

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UPDATE September 14, 2009: I just posted my Abbey Road 1987 vs. 2009 remastered review: Beatles Review – Abbey Road Remastered CD. I hope you find it useful!

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Beatles Audio Clips – Revealing Mistakes and More

posted by Rob on September 7, 2009 at 10:09 pm | Comments (34)

I realize this has become a Beatles-centric blog recently, but it’s only natural to write about one of my all-time favorite bands. Plus, I’m still riding on my excitement for the upcoming remastered boxed sets and Beatles Rock Band video game.

In my two Beatles mono vs. stereo comparison posts (post 1 and post 2), one of the reasons I defend the stereo mixes is because I can hear each instrument and vocal more clearly than in the mono versions. I enjoy listening closely to the recordings with my headphones and studying how the songs were constructed and pieced together in the studio. That insight has allowed me to apply similar recording strategies and techniques to my own music, given the limited equipment I have used throughout the years.

Another advantage of the stereo versions is that interesting sounds and mistakes are sometimes revealed. I have isolated and exposed two dozen bits of Beatles music which might have otherwise gone unnoticed. I recommend wearing headphones for these clips, as some of the anomalies are still fairly soft and/or buried in the mix, despite my attempts to unshroud them. Enjoy:

“Across the Universe” 1969
John Lennon blurts out “Blat!” or “Black!” in what seems to be the backing vocal track.

Listen:

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9 second MP3 file – 0.4 MB (right-click to save)

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“All You Need Is Love” 1967
Some people think Paul McCartney sings “She Loves You” in the background during the outro. Others think it’s John Lennon. Actually, it’s both! Paul starts singing “She Loves You” and then John joins him, starting with the word “you.”

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13 second MP3 file – 0.5 MB (right-click to save)

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“Birthday” 1968
This clip reveals Pattie Boyd and Yoko Ono’s backing vocals more clearly, as well as their soft, pathetic echo of Paul’s “Come on!” It also reveals what seems like an edit in Paul’s “Dance!” scream later on in the song. Finally, it reveals a chuckle during the song’s fadeout.

Listen:

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55 second MP3 file – 2.1 MB (right-click to save)

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“For No One” 1966
Believe it or not, there’s a rock drum beat throughout “For No One,” but it’s buried way down in the mix. My guess is Paul and/or George Martin decided the song worked better without the drums, but there must’ve been some drum leakage in one of the other tracks…or the actual drum track remained, but was turned down almost entirely. The beat is barely audible in the final Revolver stereo mix, but I was able to expose it a bit more in this clip.

Listen:

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22 second MP3 file – 0.9 MB (right-click to save)

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“Helter Skelter” 1968
During the breakdown near the end of the song, John makes groaning noises and Paul says some random things, like “Come here son!” and “I’ll show you…get my bloody hands on you, come on!” Then, are are weird horn and saxophone noises.

Listen:

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43 second MP3 file – 1.7 MB (right-click to save)

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“I Feel Fine” 1964
If you listen closely during John’s guitar feedback in the intro, you can hear a cough or some sort of creaking noise. Maybe it was Ringo flipping up the switch on his snare drum?

Listen:

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9 second MP3 file – 0.4 MB (right-click to save)

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“If I Fell” 1964
Originally, Paul’s voice gives out during one of his high harmonies near the end of the song. This was fixed with the release of A Hard Day’s Night on CD in 1987.

Listen:

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9 second MP3 file – 0.4 MB (right-click to save)

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“I’m Only Sleeping” 1966
The backwards electric guitar solo and backwards electric guitar outro, played forwards. In both cases, two guitars are playing at the same time.

Listen:

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30 second MP3 file – 1.2 MB (right-click to save)

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“It’s All Too Much” 1969
I have no idea what George Harrison says in the intro, but here it is nice and clear. I also isolated some dissonant (sloppy?) electric guitar chords during the middle of the song and included the extra verse from the Yellow Submarine movie that was edited out of the album version.

Listen:

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33 second MP3 file – 1.3 MB (right-click to save)

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“Komm, Gib Mir Deine Hand” 1964
You can hear some brief studio chatter, lip smacks, and a soft “hoo” during the intro of the stereo version.

Listen:

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9 second MP3 file – 0.4 MB (right-click to save)

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“The Long and Winding Road” 1970
This clip showcases Phil Spector’s orchestral and choral arrangement in stereo.

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57 second MP3 file – 2.2 MB (right-click to save)

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“Lucy in the Sky with Diamonds” 1967
John lets out a flat “ahh” between the second verse and pre-chorus. This was removed in the 1999 Yellow Submarine Songtrack remixed version.

Listen:

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10 second MP3 file – 0.4 MB (right-click to save)

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“Norwegian Wood (This Bird Has Flown)” 1965
Someone coughs or sneezes in the middle of the mono version.

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8 second MP3 file – 0.3 MB (right-click to save)

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“Ob-La-Di, Ob-La-Da” 1968
The isolated vocal track reveals a bunch of funny little bits, including: 1. John follows Paul’s “Yeah” with a “No!” 2. Paul’s “lend a hand” is followed by “Arm!” and “Leg!” 3. Paul’s “home sweet home” is followed by John’s “home, h-o-m-e.” 4. Paul’s “lend a hand” is now followed by George’s “Foot!”

Listen:

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30 second MP3 file – 1.2 MB (right-click to save)

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“Paperback Writer” 1966
One of the isolated vocal tracks reveals a heavy breath or throat clearing and some very soft vocal note finding during the guitar and drum break near the end of the song, as well as some sloppy high harmonies in the outro.

Listen:

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29 second MP3 file – 1.1 MB (right-click to save)

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“Please Please Me” 1963
The isolated vocal track reveals John’s lyric flub near the end of the song. Paul sings, “I know you never even try girl,” but John starts off singing, “Why do I…” before correcting himself. As a result, John begins the following chorus with a chuckle. This was fixed with the release of Please Please Me on CD in 1987.

Listen:

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16 second MP3 file – 0.6 MB (right-click to save)

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“Rain” 1966 (clip one of two)
From what I’ve read, the instrumental backing track in “Rain” was recorded in the key of A. Later, the music was slowed down one whole step to the key of G when the bass and vocals were added. In this clip, I sped the instrumental backing track up to its original key, so you can hear what the band must’ve sounded like in the studio during the recording session. Keep in mind, the bass in this clip is being played too fast, but the drums and guitars are at their original recorded speed.

Listen:

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58 second MP3 file – 2.3 MB (right-click to save)

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“Rain” 1966 (clip two of two)
John’s backwards vocals during the outro, played forwards.

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25 second MP3 file – 1.0 MB (right-click to save)

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“Revolution” 1968
You can hear an edit in John’s vocal during the word “well” at the beginning of the song. Also, there’s some sloppy vocal double-tracking later on in the song (“head”) and some stray vocal noises during the outro. Was this deliberate?

Listen:

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25 second MP3 file – 1.0 MB (right-click to save)

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“Slow Down” 1964
John sang two different lines when he double-tracked his vocal. In one track, he sings, “But now you got a boyfriend down the street.” In the other track, he sings, “But now you don’t care a dime for me.” I’m surprised this went unfixed during the recording session.

Listen:

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9 second MP3 file – 0.4 MB (right-click to save)

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“Tomorrow Never Knows” 1966
The backwards electric guitar solo, played forwards. (It’s not the “Taxman” solo played backwards, like many people believe.)

Listen:

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25 second MP3 file – 1.0 MB (right-click to save)

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“What Goes On” 1965
Right before the guitar solo, Ringo’s “Tell me why” is followed by someone saying “We told you why” or simply repeating “Tell me why” in the background. I can’t quite make it out.

Listen:

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13 second MP3 file – 0.5 MB (right-click to save)

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“While My Guitar Gently Weeps” 1968
At the beginning of the guitar solo, immediately following Ringo’s drum fill, his hi-hat comes in slightly off beat. Either Ringo hit it late, but recovered quickly and perfectly, or it’s a noticeable edit.

Listen:

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9 second MP3 file – 0.4 MB (right-click to save)

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“You Won’t See Me” 1965
During the intro, right before Paul’s vocal comes in, there’s an extremely faint cough or throat clearing. This clip definitely requires headphones.

Listen:

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6 second MP3 file – 0.3 MB (right-click to save)

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