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The Beatles - Revolver [Beatles Collection Box Set - MFSL 1-107] 24-bit/96kHz Vinyl Rip and Redbook CD
Posted By :
Dr. Robert
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Date :
11 Dec 2009 00:35:00
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Comments :
38
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The Beatles - Revolver
JVC Japan "SuperVinyl" / MFSL 1-107
Disc 7 of 14-disc Mobile Fidelity "Beatles Collection" box set
Half-Speed Mastered by Stan Ricker @ MFSL, Los Angeles
New Vinyl rip in 24-bit/96kHz | FLAC | no cue or log (vinyl) | Full HQ Artwork
741 MB (2496) + 242 MB (RB)| RS + Hot File | Genre: Rock & Roll | 1966
JVC Japan "SuperVinyl" / MFSL 1-107
Disc 7 of 14-disc Mobile Fidelity "Beatles Collection" box set
Half-Speed Mastered by Stan Ricker @ MFSL, Los Angeles
New Vinyl rip in 24-bit/96kHz | FLAC | no cue or log (vinyl) | Full HQ Artwork
741 MB (2496) + 242 MB (RB)| RS + Hot File | Genre: Rock & Roll | 1966
Revolver is the seventh album by The Beatles, released on 5 August 1966. Many of the tracks on Revolver are marked by an electric guitar-rock sound, in contrast with their previous, folk rock inspired Rubber Soul. It reached #1 on both the UK chart and U.S. chart and stayed at the top spot for seven weeks and six weeks, respectively. It was released before the Beatles' last tour in August 1966, but they did not perform songs from the album live. Their reasoning for this was that many of the tracks on the album, for example "Tomorrow Never Knows", were too complex to perform with live instruments.
A key production technique used for the first time on this album was automatic double tracking (ADT), invented by EMI engineer Ken Townsend on 6 April 1966. This technique used two linked tape recorders to automatically create a doubled vocal track. The standard method was to double the vocal by singing the same piece twice onto a multitrack tape, a task Lennon particularly disliked. The Beatles were reportedly delighted with the invention, and used it extensively on Revolver. ADT quickly became a standard pop production technique, and led to related developments, including the artificial chorus effect.
A key production technique used for the first time on this album was automatic double tracking (ADT), invented by EMI engineer Ken Townsend on 6 April 1966. This technique used two linked tape recorders to automatically create a doubled vocal track. The standard method was to double the vocal by singing the same piece twice onto a multitrack tape, a task Lennon particularly disliked. The Beatles were reportedly delighted with the invention, and used it extensively on Revolver. ADT quickly became a standard pop production technique, and led to related developments, including the artificial chorus effect.
New Upgraded Vinyl Rip from Mint MFSL Box Set
using my Ortofon 2M Black cartridge and a tube preamp
with Full Artwork
Track Listing
1. Taxman
2. Eleanor Rigby
3. I'm Only Sleeping
4. Love You To
5. Here, There and Everywhere
6. Yellow Submarine
7. She Said, She Said
8. Good Day Sunshine
9. And Your Bird Can Sing
10. For No One
11. Doctor Robert
12. I Want to Tell You
13. Got to Get You into My Life
14. Tomorrow Never Knows
using my Ortofon 2M Black cartridge and a tube preamp
with Full Artwork
Track Listing
1. Taxman
2. Eleanor Rigby
3. I'm Only Sleeping
4. Love You To
5. Here, There and Everywhere
6. Yellow Submarine
7. She Said, She Said
8. Good Day Sunshine
9. And Your Bird Can Sing
10. For No One
11. Doctor Robert
12. I Want to Tell You
13. Got to Get You into My Life
14. Tomorrow Never Knows
Recorded 6 April – 21 June 1966
Original EMI Release 5 August 1966
Half-speed mastered with the Ortofon Cutting System
from the original EMI stereo master tapes, released September 1982
Vinyl Pressed in Japan by JVC using Super High Definition Vinyl
Links: (24-bit/96kHz) (RS.com) Part 1 | Part 2 | Part 3 | Part 4
Links: (24-bit/96kHz) (Hot File) Part 1 | Part 2 | Part 3 | Part 4
Links: (16-bit/44.1kHz) (RS.com) Part 1 | Part 2 -------- (Hot File) Part 1 | Part 2
Links: (24-bit/96kHz) (Hot File) Part 1 | Part 2 | Part 3 | Part 4
Links: (16-bit/44.1kHz) (RS.com) Part 1 | Part 2 -------- (Hot File) Part 1 | Part 2
The files are interchangeable!!!
Password:
hotvinyl
If you discover any dead links in any of my posts,
Please Send Me a Private Message !!!!
Please no mirrors and/or direct links in your comments !!!!
Password:
hotvinyl
If you discover any dead links in any of my posts,
Please Send Me a Private Message !!!!
Please no mirrors and/or direct links in your comments !!!!
Discover more great vinyl rips on my Blog
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Thanks for your efforts, however, it's always nice to have alternatives:)
I already have your Beatles MoFi rips Doc so I'll pass on this one.
Thank you so much for the upgrade ;)
Thanks for the vote of confidence. Vinyl is no magic audio potion in my book. I suggest you and others who have my earlier rips check this new one out and compare with both the USB and my old rip.
There is also my Abbey Road rip for those with golden ears can compare with the 24-bit USB remaster. http://avaxhome.ws/music/Beatles_abbey_road_mfsl_2496_hqvinyl.html
All unbiased listener feedback would be appreciated.
When you compare your upgrade to the 24 bit official release, it is vastly different. The guys at Abbey Road had access to the original masters and didn't mess with the dynamics to a gross extent. Now, the people in charge of the vinyls for MOFI, from what I have read, added their own EQ'ing to each album. You also have to remember, a lot of people are now used to the digital era of music. Many will never like the warmth and smoothness of vinyl, while some will much prefer it. I enjoy both simply because its listening to an audio format I missed out on and this was how much of my favorite music was original released.
These are my two cents, but I'm 22 and have not had a lot of first hand experience with vinyl.
But, I would love for you to continue releasing your Mofi upgrades.
I agree with Krycek7o2 when saying that some people will prefer the smooth and naturality of vinyl while some will go for the great & stunning remastered sound. Both have own properties.
And hey, I enjoy both too :)
If this Revolver is an improvement comparing with the old rip then I'm downloading this too.
It will be a pleasure comparing three Beatles issues, I never have enough of them!
Btw Dr., are the new Beatles' rips going to be for all discography or just some of them?
My recent posts of Abbey Road, Magical Mystery Tour, Let It Be and Yellow Submarine I ripped with this new 2M Black and tube preamp combo. My White Album rip was done with the Shure V15 and the Tube Box preamp. I will be making new rips of all the albums I did with the old Shure V15 cartridge.
Plus those tube preamps bring a beautiful vintage touch.
Btw, what's the password?
The new rip is clearer/cleaner. Both sounds great to me, but the old rip sounds dull at times when comparing with the new one.
I feel the cymbals are more present & guitar strings are more defined on the new rip.
The difference is not night & day, but doubtless it is better.
One more thing, not much noticeable when hearing it,
but I compared the waveforms of old & new Taxman song and the old rip is a bit louder than the new one, why is that?
Actually it is an advantage to me because the new rip is more dynamic sounded.
Maybe not an expert audiophile's opinion, but this is it, and note that I'm hearing from my compueter with ordinary headphones :)
@bob patiño & Dr. Robert, whenever I hear the adjective "warm" or "warmer" applied to anything audio, this invariably means coloration. Maybe it's pleasing to some people, but nonetheless, it is indicative of coloration by introducing exaggerated even-order harmonic tampering to the original...be it digital or 1st-gen masters. Most MFSL issues I've heard are classic examples of EQ to please and impress the innocent. Each to his/her own, of course, but for those who invest in ultra-expensive, hand-picked audio systems that strive for accurate reproduction, artificial "warmth" seems to be counterproductive. On the other hand, that distortion may be just the antidote for poorly designed, unbalanced speakers and amplifiers.
Just my sou's worth:)
EQ and "coloration" are added to every master/remaster, including the recent Beatles remasters, which were EQd (in the analog domain) as noted by people involved in the project (on the Hoffman forum, for instance). You or I could not possibly know much/little EQ Mofi or anyone else did or did not add, and it doesn't matter anyway, because as noted, EQ and coloration are necessarily added, always. Accordingly, terms like "artificial" are meaningless, as we have no means to know what is "natural", nor could we possibly know, as there is no such thing. All that matters is sound, which is subjective, not theoretical reasoning of methods used to acquire such sound.
Thanks, Doc.
As I make new rips I will include redbook.
xoxoxo
Certainly the new rip has more life; keep on the Beatles rips re-post Doc; better quality is worth to me.
About the Usb series, well as said on past posts, there are for all tastes.
Vinyl is analogue, and usb's digital so the comparation is a bit silly to me; I personally prefer vinyl sound but it is just my opinion/taste.
Btw, I think warm is a very important adjetive on music's world. It helps to te record not to sound clinic and anemic.
In fact, the Beatles remasters sound warmer (and of course better) than '87 transfers. And yes, they added EQ as SupperFuzz says.
But again, there are for all tastes. Vintage or remaster sound, all that matters is music.
Will there be more? will the complete discography be here one day ?
Bob, I hear ya' and agree that sound preference is subjective. In this spirit, I'd like to share my own run-in with "warm" and "digital" sounding. I was an early lover of classical music, and by 19 had a pretty decent collection of vinyl that I listened to through high school and college with my beloved AR-3a speakers, tube Dynaco separates and Thorens/Shure V-15 combo -- (boy, I'm really dating myself). *g*
Anyway, I got to attend my very first live concert by the Chicago Symphony Orchestra in 1973 where the main event was the Mahler Symphony No. 3. What a trip that was! But when I closed my eyes during the concert to listen intently to the music, I found something missing: the "warmth" of the LP recordings I'd became accustomed to during those long hours of listening. The live performance in Chicago's famed Orchestra Hall (the acoustics were second to none) sounded..."cold" (un-warm) and ultra-etched. Lots of detail, of course, but the vinyl "warmth" was missing. What some people today would call the "digital" sound.
My point? Well, for someone whose musical experience came through analogue LP reproduction, it was a little disconcerting. Maybe, I thought, if they threw a gauze veil in front of the live orchestra (especially the CSO brass!) and put a little sound absorbing material over the stage could they achieve that "warm" sound I'd become accustomed to. Only until CDs had matured enough did I rediscover the "accurate digital" sound of live performances that I've been fortunate to attend quite often. But like me in my youth, most people today don't ever experience the real thing and enjoy whatever sound experiences they're used to. Maybe that's the reason for the recent vinyl fad and just plain boomer nostalgia. As for me, I still miss my old setup, "warmth" and all :)) But there's nothing like the real thing, not even close.
PS: I suppose when I say "real thing" I'm referring to live acoustic classical and jazz concerts, not 9,000-channel studio electronic mixes that have no live reference whatsoever...only the twiddling of dials by engineers who could care less about the "live" experience. So I suppose "warm" and "digital" sound when it comes to pop and rock is totally a matter of "pick your poison."
That is exactly one of the reasons for an audiophile/melomane to become a vinyl supporter, for me, lp's sound bring the most enjoyable experience; Well I got to tell you, I don't belong to X generation (I'm a very young adult :D) so my premiere music experience comes from digital sources.
Anyway, it's still seems increadible to me that I became a vinyl-sound lover since little months ago. I'll not lie you, I don't own phisical vinyls nor tunrntable, that's why I love Avaxhome/vinyl rippers, It/they gave me the oportunity to experience music on a different way.
You see, even not owning a proper vintage equipment I can set the big, big difference between digital and analogue.
I can truly understand you, about your live music experience vs. your acustomed-vinyl ear experience. Every time I listen a digital record, the more I note the difference and the lak of "something" while time passes and my ears get vinyl-acostumed. Don't misunderstand me, I still love my cds and digital recordings.
The sad thing about all this is that those good records andconcerts with true hi quality (the real thing as you said) are less and less every time. Just a little niche on world's music still minds to bring their public a wonderful experience, the major part of musical products sound like a subwoofer boom boom box, and I think it is one of the reasons I'm getting on the path of vinyl, of course is an improvement to me and I've seen that lastlt remasters and new cd releases are getting worst sounding (loudness war, greedy discographic companies, art ignorance).
There are indeed exceptions, like these Beatles remasters or Steven Wilson albums and dvd-a's (I love dvd-a) which still care about quality and bring us great music, well-made productions/mastering procces on a cd or dvd. Again, everything depends of your taste.
It is true, both digital and analogue sound can live perfectly well together :)
New remastered vinyls have not been released. Postponed until spring-summer 2010 according to latest rumors.
Thanks!
Thanks!!
Thanks!!!
Thanks!!!!
Thanks!!!!!
Good Day Sunshine...
Thanks Doctor Robert!
As always a great job.
To my mind, "Revolver" is the best album by The Beatles.
Cheers from Berlin:-)
^^Kisses for RS^^