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buy now <\/a><\/p>\n $19.88<\/p>\n The Beatles\u2019 acclaimed original studio album<\/a> remasters, released on CD in 2009, make their long-awaited stereo vinyl debut<\/p>\n Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper\u2019s Lonely Heart Club Band\u2019s cut-outs, and special inner bags for some of the titles<\/p>\n The titles include The Beatles\u2019 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group\u2019s core catalogue, and Past Masters, Volumes One & Two, first released individually in 1988, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles\u2019 first four albums make their North American stereo vinyl debuts<\/p>\n There has always been demand for The Beatles\u2019 albums on vinyl. Indeed, 2011\u2019s best-selling vinyl LP in the United States was Abbey Road<\/a>. Following the success of The Beatles\u2019 acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI\u2019s Abbey Road Studios should create new versions of The Beatles\u2019 vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple<\/p>\n The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative<\/a> method is to cut the sound into the soft lacquer coating on a nickel disc \u2013 the first of several steps leading to the production of a stamper to press the vinyl<\/p>\n A \u2018blind\u2019 listening test was arranged to choose between a \u2018lacquer\u2019 or \u2018copper\u2019 cut. Using both methods, A Hard Day\u2019s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having \u2018blank\u2019 discs of a consistent quality when cutting lacquers<\/p>\n The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone \u2018limiting\u2019 \u2013 a procedure to increase the sound level, which is deemed necessary for most current pop CDs<\/p>\n Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any \u2018sibilant episodes\u2019 \u2013 vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of \u2018inner-groove distortion\u2019 was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a \u2018mushy\u2019 sound particularly noticeable on vocals. Using what Magee has described as \u2018surgical EQ,\u2019 problem frequencies were identified and reduced in level to compensate for this<\/p>\n The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli<\/p>\n An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the \u2018lock-groove\u2019 at the end of side two of Sgt. Pepper\u2019s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.Rare Import Vinyl Record<\/p>\n <\/p>\n <\/p>\n Republished by Blog Post Promoter<\/a><\/small><\/p>\n \t\t\t<\/div>\n\n