Once the files had been mastered they were sent (probably over the Internet) to Abbey Road Studios where Sean Magee and Alex Wharton cut lacquers from the DSD files. This required different track orders, with singles and E.P.s on albums, all of which for the American releases, Andrew Loog Oldham controlled. He emailed this, with permission to share: “Yes, unlike the Beatles where it was all recorded and mixed basically at EMI and was quite consistent, the Stones were recorded and mixed all over the place and there was very little consistence from track to track. This collection was 100% recorded in America in Hollywood and Chicago.

When people used to describe these recordings—particularly the early ones—as “dirty”, they were describing more how they were mastered than how they actually sound. The reissue has better and tighter bass, with slightly better hf extension. Anyway, just speculating. Those two LPs were released in both mono and stereo editions in the UK on the red Decca label.

Serious nearfield monitors that are definitely capable of resolving minor differences between recordings. The two fold downs I still have to think about. I listened in the sweet spot and then again later well-off-axis, hearing how the room breathed when pressurized. Even though it was a Frankenstein-like patch of “stuff”, for American kids it was really the beginning of their love affair with The Rolling Stones . However, The Rolling Stones in the 1960s was a band that played live in the studio and depended upon microphone distance and instrument placement for a good mix more than they depended upon getting it right in the mix. Instead a quick rundown because annotator David Fricke does a very good job with the timeline and analysis in the booklet: The 1964 debut album (in American called England’s Newest Hitmakers with Buddy Holly’s “Not Fade Away” opening instead of “Route 66” and missing “Mona”) was a set of mostly covers—and for the white American kids mostly unfamiliar stuff —that’s more about high energy and enthusiasm than anything. So if one was to choose between stereo and mono for these two, go with stereo? master tape.

You are probably also aware that there are those who prefer Beatles original Parlophone monos over the new ones, even though the new ones are more neutral. It is only through your hard work that someone like myself can make a reasonable assessment on this boxset. Beware Magnetized Stylus Pressure Gauges! With The Rolling Stones in Mono, ABKCO, which owns the Rolling Stones Decca catalog, gives us, for the first time, the complete English and American Rolling Stones catalog in glorious monophonic sound. Perhaps the theft of the truck made Decca/Oldham rethink things hence 12x5. A Week In The Past---David Jones In New Orleans 1961, Diving Into the Quality, Reasoning, & Ethics Behind Modern Vinyl Bootlegs, AnalogPlanet Visits Turntable Manufacturer Acoustic Signature.

When I compared with the box set reissue, a Decca-pressed “London FFRR” version of Out of Our Heads, the original sounded compressed, cloudy in the midrange and rolled off on bottom.You can compare for yourself at the end of this story.

AND...what qualities in the music are important to you may be not as important to me. It's people whose systems can't handle bass... Each track would have to be transferred from tape to tape losing a generation because of all of the different studios etc. They do require careful placement, something that almost never happens on a desktop. The version of “Time Is On My Side” here has a guitar intro, the one on 12x5 has an organ intro. Anobody knows, where i can find the bundle on discogs? Yes, it would be incredibly finicky, time consuming and a major effort, but given this particular bands influence on popular culture, I would argue it's worth it.

Your reviews are a public service.

I hope the the forth coming Kinks set gets it right. The difference is not subtle. “Yesterday’s Papers” sounds like something out of Motown, “My Obsession” has an eastern musical feel, and the other songs perhaps have an unsettled feel but psychedelic? These do sound better in stereo.

This was also true of Bob Dylan, who after attending the mono mixing sessions of “Blonde On Blonde” left Nashville, leaving to others the stereo mixing chores. The UK version was longer and included “Mothers Little Helper”, “Out of Time” “Take it or Leave it” and the country-ish “What to Do”, none of which were on the American record. I got the impression you were insulted as well.

A mess! 'Play with fire' track you've posted I still prefer the original, not for its sonics per se but its drive. Under assistant was cut at Chess, so sounds great. The early recordings were produced on but a few tracks so often sub-mixes that contained more than a few elements had to be produced to make room on adjacent tracks. Considering that they added Flowers, the US edition of Buttons became superfluous probably.

Just read the story. For those who don't know, Monsoon are planar-magnetic computer speakers with a sub.

When exposed to the original mono mixes of familiar “stereo” mixes, today’s more sophisticated listeners can easily grasp the superiority of the mono mixes, which have a coherency, solidity and yes, depth of field that make the stereo mixes sound disjointed and far less satisfying. This one was recorded at Chess, RCA Hollywood and Regent in the U.K and like the debut album it’s mostly covers including Allen Touissaint’s “Pain in My Heart”, but it has three originals “What A Shame”, “Grown Up Wrong” (was on 12X5) and the sardonic “Off the Hook”.

You can also listen to the high resolution files here: I totally agree, the mono box set sounds amazing compared to the albums and cds I have already, especially Between the Buttons, Aftermath, Satanic, Beggars.

Now for the others I already said my thought. At some point these American masters were probably copied “for safe keeping” with the copy becoming the “master” available for future reissues.

Ok I just finish to listen to beggard banquets and for me is like Let it Bleed. In the summer of 1967 Andrew Loog Oldham released in America the compilation Flowers, in the wake of The Beatles Sgt.

I read someone who compared the stereo and mono editions of many John Mayall / Bluesbreakers records and the timings were identical, thus his theory was born.

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