Producer [Restoration Producer], Transferred By [Analog To Digital Transfers], Research [Tape Archive Research] – Teri Landi

The Rolling Stones in Mono Box Set Reviewed". Analog Planet. 28 October 2016 . Retrieved 19 May 2021. Once the master tapes were used to transfer the music, that music was then converted to DSD 2.8kHz for mastering. Why not PCM? “DSD most closely mirrors analogue in the digital world,” said Landi. “We really wanted to master in DSD, 24bit/192kHz just wasn’t close enough.” Note different width of the inner mirror band. Different fonts for matrix number, different width of barcode. pale/incorrect colors of the sleeves. Poorly glued sleeves. It is to be pointed out that the official US version came with rather sloppy sleeves. Sinclair, Paul (11 August 2016). " The Rolling Stones in Mono: 16 LP Vinyl and 15 CD Box Sets Due in September". Super Deluxe Edition . Retrieved 18 December 2016.

Versions

Yes, the sound is wildly inconsistent. It's part of the charm though. Just match the levels and live with it. You can't compare the beautiful full dynamic range of the Chess sound with the chopped off bottom and top of the RCA stuff. So put it on in all it's flawed glory.

And when we get to 1965’s December’s Children (and everybody’s), the singing and arranging are getting even more creative and sophisticated. Listen to arranger Mike Leander’s gorgeous string ritornello in “As Tears Go By” (Jagger/Richards). He was good enough to arrange for The Beatles when George Martin was unavailable. The visualization would essentially be below. The illustration represents 2 cables merging into 1 RCA, then 1 RCA splitting to 2 again to the preamp.The Stones were recording their albums at Regent Sound in England, Chess in the USA and then RCA in Hollywood, “So you had different rooms, different echo chambers, different engineers and so on. There’s going to be a difference in the sound. The person who had the task to cut the album, in the end, may have felt that the tapes had so many differences between them that they wanted to do EQ changes to give the listener a soother transition from song to song. Once the EQ was completed, the engineer would print the results on another tape.” The produce these “new” records, Capitol had to take the tapes they were sent—already copies at least one, perhaps two generations down from the masters—and then copy again to create the cutting masters, while at the same time adding the echo and whatever else they chose to do to make the sound more acceptable (they thought) to the “kiddies”.

The task, then, was to source the first generation tapes for this project,” said Landi. “The first generation recording may (or may not) be on the cutting master, it might be further up the chain on a complex album master or elsewhere. To complicate matters, because you are also looking at UK and USA versions of the same album, then one of them may have the first generation masters while the other will certainly not. For Out of Our Heads, for example, the first generation masters were largely present on the US version: the US version did appear before the UK version. Hence, the UK master had lower generation copies on its LP.” In terms of test software, I used original mono pressings of The Rolling Stones (1964) and No.2 (1965), Out of Our Heads (1965) and Aftermath (1966). For further comparative purposes, I also used relatively modern, mid-80s, pressings of The Rolling Stones and No.2.Although, SHM-CD logo is printed on the hub, the catalog number, SID mastering code and Universal logo are present in the inner mirror band of the CD the fonts that are used are different from official. Also, the CD shape is different from those that are pressed in Japan. This is the first Stones album to be produced by Jimmy Miller, who also produced Traffic and Spooky Tooth as well as co-writing ‘I’m A Man’ with Stevie Winwood. This is an album as different from its predecessor as it’s possible to be. It came out a year after Their Satanic Majesties Request, making it the longest wait for a Stones’ album since the start of their career. One really minor complaint, I wish they had a blue Decca label for Their Satanic Majesties Request. I was commenting both on the visceral impact as well as on some of the differences I was hearing in that recording. I'm obviously not alone in preferring the original.

Halpin, Michael (3 October 2016). " The Rolling Stones in Mono Box Set and How to Buy Their 60s Albums". Louder Than War . Retrieved 18 December 2016. The Rolling Stones in Mono (Limited Color Edition) was mastered by GRAMMY® award-winning engineer Bob Ludwig at Gateway Mastering. For the project he utilized Direct Stream Digital (DSD) transfers from the original master recordings, with a sampling rate of 2,822,400. Lacquer cutting for vinyl was performed at Abbey Road Studios by Sean Magee. The Rolling Stones in Mono (Limited Color Edition) project has been overseen by Teri Landi, ABKCO’s GRAMMY ® award-winning Chief Audio Engineer.The American Beatles release story is more complex, with Vee-Jay handling the first record called Introducing The Beatles (plus singles on Tollie and Swan) and then Capitol taking over starting with Meet The Beatles and eventually gaining control of the Vee-Jay material, which it later released as The Early Beatles.