paisleypark4 said:

At least for the first 6 or 7 albums, the mono mixes were the ones that the band worked on and approved, as well as being the ones which all the time was spent on perfecting. They are NOT "fold downs" (taking the stereo mix and hitting the mono button) of the stereo mixes by any means but completely different mixes.
The stereo mixes were seen as more of a novelty and done almost as an after thought. So, yes, the thought of having all "the" mono mixes is VERY EXCITING!

nd33 said:

exactly, Geoff Emerick, their engineer, said that everything from Revolver and before should be listened to in mono to hear the complete presentation as it was intended.

NDRU said:

Even after Revolver, I think the Beatles mixed in mono up til the end of their run

NDRU said:

Even after Revolver, I think the Beatles mixed in mono up til the end of their run

Cinnie said:

The mono box set includes up to the white album, so it may be a clue that abbey rd and let it be were the only albums mixed primarily for stereo...

NoVideo said:

I think I'd have to go in order, so Please Please Me is first

Cinnie said:

The mono box set includes up to the white album, so it may be a clue that abbey rd and let it be were the only albums mixed primarily for stereo...

The mono mixes have differences in the volume levels and in some cases even new sounds. I wish the boxed set had both version included.

VinnyM27 said:

Starting at the end? Interesting.

NDRU said:

I'm going straight for my favorites, so it's Rubber Soul and Past Masters, Vol. 2
for me.

Damn The Beatles!!!!! They got my $$$$$ again.

nd33 said:

...and Yellow Submarine.

paisleypark4 said:

At least for the first 6 or 7 albums, the mono mixes were the ones that the band worked on and approved, as well as being the ones which all the time was spent on perfecting. They are NOT "fold downs" (taking the stereo mix and hitting the mono button) of the stereo mixes by any means but completely different mixes.
The stereo mixes were seen as more of a novelty and done almost as an after thought. So, yes, the thought of having all "the" mono mixes is VERY EXCITING!

nd33 said:

I'm really not sure which one to get. My wreckasto guy is buying both for himself but I can't decide. Hopefully he'll let me listen to both before choosing.

Which version are you people going to get? Stereo or Mono?

connorhawke said:

I think I'm going stereo. I don't want to have to buy the last 3 albums separately and I want the included DVD. If the stereo remasters sound as good as Love, I'll be happy.

AlexdeParis said:

Mono all the way for me! "Thumps harder" sounds good to me!
This might help make up your minds.....

About the mono mixx of Sgt Peppers album:

[snip]

http://i.gizmodo.com/5216...a-lot-more

nd33 said:

I'm really not sure which one to get. My wreckasto guy is buying both for himself but I can't decide. Hopefully he'll let me listen to both before choosing.

Which version are you people going to get? Stereo or Mono?

These would have been nice as dualdiscs with stereo on one side and mono on the other

I'm still ecstatic though!

nd33 said:

But that article is not about these new remastered albums.

Mono all the way for me! "Thumps harder" sounds good to me!
This might help make up your minds.....

About the mono mixx of Sgt Peppers album:
"When Sgt. Pepper's Lonely Hearts Club Band came up, my first impression was that the sound had more thump than the stereo mix. A lot more thump, for a lack of a better word. It was like someone was beating me with a hammer. It was kind of noisy, but it filled my head and pushed me in a way the stereo version didn't.

Then good old Ringo—my favorite Beatle—came up singing With A Little Help From My Friends. Same effect. It felt weird, but so much better. I kept coming back to the stereo versions for comparison and, before I noticed, I was thinking: "These sounds a lot weaker. These sound artificial." Gone was the separation of instruments in the right and left channel too, which now feels so artificial. It was artificial, since stereo was a novelty back then: Most people still listened to music in mono and stereo was the "new thing." As a result, producers overused it, just for the sake of it, like when 3D cinema came out and everything was an excuse to fire arrows and rocks and monsters at the public.

I definitely liked the way the mono version sounded—a lot more, even while I knew the stereo version till the last beat and note. LSD came up: same result. The sound is crisper and nearer. The bass a lot better. Again that special thump, even while this is such a delicate song. Getting Better gets better, and so does the rest, Fixing a Hole, She's Leaving Home, Being for the Benefit of Mr. Kite... I just couldn't have enough.

But that wasn't all. In the mono version you can hear stuff that is not in the stereo version. And not just bits, but quite a lot of things. Instruments, notes, even lyrics. Take the reprise version of Sgt Pepper's Lonely Hearts Club Band: It is full of shouting—Lennon going bananas at the end, and other bits at the beginning—that is not in the stereo mix."

http://i.gizmodo.com/5216...a-lot-more

This is about 15 years overdue.

Not to be picky but I was really hoping The Beatles albums would get the 5.1 surround sound treatment. Like the Love album.

Remastering The Beatles catalog
The re-mastering process commenced with an extensive period conducting tests before finally copying the analogue master tapes into the digital medium. When this was completed, the transfer was achieved using a Pro Tools workstation operating at 24 bit 192 kHz resolution via a Prism A-D converter. Transferring was a lengthy procedure done a track at a time. Although EMI tape does not suffer the oxide loss associated with some later analogue tapes, there was nevertheless a slight build up of dust, which was removed from the tape machine heads between each title.
From the onset, considerable thought was given to what audio restorative processes were going to be allowed. It was agreed that electrical clicks, microphone vocal pops, excessive sibilance and bad edits should be improved where possible, so long as it didn’t impact on the original integrity of the songs.

In addition, de-noising technology, which is often associated with re-mastering, was to be used, but subtly and sparingly. Eventually, less than five of the 525 minutes of Beatles music was subjected to this process. Finally, as is common with today’s music, overall limiting - to increase the volume level of the CD - has been used, but on the stereo versions only. However, it was unanimously agreed that because of the importance of The Beatles’ music, limiting would be used moderately, so as to retain the original dynamics of the recordings.

When all of the albums had been transferred, each song was then listened to several times to locate any of the agreed imperfections. These were then addressed by Guy Massey, working with Audio Restoration engineer Simon Gibson.

Mastering could now take place, once the earliest vinyl pressings, along with the existing CDs, were loaded into Pro Tools, thus allowing comparisons to be made with the original master tapes during the equalization process. When an album had been completed, it was auditioned the next day in studio three –a room familiar to the engineers, as all of the recent Beatles mixing projects had taken place in there – and any further alteration of EQ could be addressed back in the mastering room. Following the initial satisfaction of Guy and Steve, Allan Rouse and Mike Heatley then checked each new re-master in yet another location and offered any further suggestions. This continued until all 13 albums were completed to the team’s satisfaction.