O.P.D. - What'd would or wouldn't you do to restore Get Back acetate 1?

[paul62]

Brilliant, Thank you for the information, I can vaguely remember when and where you first posted. So what we think is stereo is basically an out-of-phase track on the right channel, representing the vinyl release but not the best representation of the material.

If the version you (any of you) have on an LP has all Paul and no John on "One After 909" then you have either an original or a copy of O.P.D. The second LP I described that is one channel of audio but sounds and looks like stereo got that way because the tape of the material was:

a) copied from one or more records onto one tape, with whatever degree of azimuth misalignment was going on with *that* album's tape
b) then that tape was copied onto a different tape deck that had another degree of azimuth alignment
c) it may (or may not) have also been copied to another tape with different decks and azimuth
d) the last tape in the chain was played on yet another tape deck with yet different azimuth than all the others, to feed the cutting head and make the LP.

This is why it appears on the meters and in the speakers to be stereo. Both tracks are out of phase from multiple generations of dubbing, so much so that phase correction software can't correct it to any satisfactory degree. You can't use one side or the other because they both sound so different, and you can't combine channels, because that sounds even worse! I'd have to go with the other LP version (15 tracks), which is the on the tinny side, but that's how they made it. No quality control or engineering went on at any stage.

You only have a stereo "Get Back" album if you have Paul on one side and John on the other one during "One After 909."

Yes, mine has the version of "One After 909" made from one channel. There's wow and flutter, speed variations, imperfect EQ, extended dropouts and skips throughout the LP. The work involved for anybody interested in redeeming the disc is probably better spent in recreating the album with tape-to-digital sources (using the best quality Nagra source/s is not a bad way to go about making a mono version of this, something I might do).

[yymca6]

Brilliant, Thank you for the information, I can vaguely remember when and where you first posted. So what we think is stereo is basically an out-of-phase track on the right channel, representing the vinyl release but not the best representation of the material.

If the version you (any of you) have on an LP has all Paul and no John on "One After 909" then you have either an original or a copy of O.P.D. The second LP I described that is one channel of audio but sounds and looks like stereo got that way because the tape of the material was:

a) copied from one or more records onto one tape, with whatever degree of azimuth misalignment was going on with *that* album's tape
b) then that tape was copied onto a different tape deck that had another degree of azimuth alignment
c) it may (or may not) have also been copied to another tape with different decks and azimuth
d) the last tape in the chain was played on yet another tape deck with yet different azimuth than all the others, to feed the cutting head and make the LP.

This is why it appears on the meters and in the speakers to be stereo. Both tracks are out of phase from multiple generations of dubbing, so much so that phase correction software can't correct it to any satisfactory degree. You can't use one side or the other because they both sound so different, and you can't combine channels, because that sounds even worse! I'd have to go with the other LP version (15 tracks), which is the on the tinny side, but that's how they made it. No quality control or engineering went on at any stage.

You only have a stereo "Get Back" album if you have Paul on one side and John on the other one during "One After 909."

Yes, mine has the version of "One After 909" made from one channel. There's wow and flutter, speed variations, imperfect EQ, extended dropouts and skips throughout the LP. The work involved for anybody interested in redeeming the disc is probably better spent in recreating the album with tape-to-digital sources (using the best quality Nagra source/s is not a bad way to go about making a mono version of this, something I might do).

Here's a version of your signed Get Back that I reconstructed just for fun from different sources. Source name is in "Comments".

Maybe you can do something with it.

hxxps://we.tl/t-wQfH2diObm

[tdgrnwld]

Loving this thread. Thanks, all you expert texperts!

[paul62]

Yes, mine has the version of "One After 909" made from one channel. There's wow and flutter, speed variations, imperfect EQ, extended dropouts and skips throughout the LP. The work involved for anybody interested in redeeming the disc is probably better spent in recreating the album with tape-to-digital sources (using the best quality Nagra source/s is not a bad way to go about making a mono version of this, something I might do).

Here's a version of your signed Get Back that I reconstructed just for fun from different sources. Source name is in "Comments".

Maybe you can do something with it.

Thank you very much, Yves!!

[paul62]

Funnily enough, before coming here, I'd been spending some time checking out the versions of "For You Blue" from "Day By Day" and making the one used for the Glyn Johns version sound as good as possible (as well as the playback from Glyn's multi-tracks, as captured by the Nagra)!

At any rate, on the raw Nagra audio of the Glyn Johns version we hear ice cubes being tinkled in a tumbler. Somebody then says "Who farted"? Glyn must have pulled the faders down when mixing his version...!!!

[tanalour]

Japanese bootlegger reconstruct OPD.

hxxps://ecd.easy-myshop.jp/c-item-detail?ic=A000005996

[BTL1210]

Thank you for the reconstruction Yves.

[Lord Reith]

The acetate is in much better quality from tape source on Yellow Dog's Celluloid Rock. But unfortunately it's mono.

[MARVINMARTIN]

Hi
Lord Reith,
"But unfortunately it's mono.".....spectral stereo?

[powerPC]

NOTE: based on recently uncovered information (see: viewtopic.php?f=20&t=1681&p=26292#p26292 ) I have made a few minor modifications to this.

I assembled this “rebuild” of compilation #2 based on "Thirty Days" (GB compilation #3)… From what I'm reading online at www.beatlesource.com/bs/mains/audio/Get ... comp2.html (great site for info), here's what i'm finding out:

A few months after the end of the "Get Back Sessions", in early March 1969 (this might further the original March date theory for compilation 1), Glyn was finally given the task of compiling an actual album. He set about 
this task throughout April and early May 1969. This would be Glyn's second compilation and was constructed with the intent for future release but, essentially, it became the prototype for compilations 3 and 4. Apparently, The Beatles disapproved of this compilation. In late May 1969, Glyn did some editing on this version and produced compilation 3.

MASTER REEL:
 John Barrett only list one Get Back reel in 1969. He does not list individual mix reels for compilations 2 and 3. Mark Lewisohn's
 research denotes the terms "master tape banding and compilation". So, it seems probable that this reel was spliced together 
utilizing various mix tapes. Subsequently, this reel was probably edited to produce compilation 3 and thus, probably the reason 
this compilation is not noted by Barrett.

This second compilation differs from the more common third compilation in that there are a few tidbits of different dialog and, more importantly, different edits of "Get Back" and "Dig It"…

• "Get Back" is the same performance as the single version but lacks the coda (edited from another take) that is heard on the single and, unlike compilation 1, does not feature a 'cold' ending. Instead, the song comes to a natural end followed by a few seconds of otherwise unavailable (from multi-track) studio chat among The Beatles. Note: this additional bit of dialog (probably sourced from O.P.D.) can be heard at the end of disc 8 of The Get Back Journals 1 (Vigotone Records). A small bit of it is heard on Glyn's first compilation.

• On Glyn's third compilation, "Dig It" is edited to the more common 3:58. On this second compilation, it clocks in a minute longer at 4:57. Again, this is the only place these variants are available from a multi-track source.

This is the contents of the second compilation (O.P.D. version)...

SIDE ONE

1. One After 909:
This is the same as compilations 3 [1969] and 4 [1970].

2. Rocker-Save The Last Dance For Me-Don't Let Me Down:
This is the same as compilation 3. (Compilation 4 also features these performances 
but there is some debate how accurate the available recordings are.)

3. Don't Let Me Down:
This is the same as compilation 3.

4. Dig A Pony:
This is the same as compilation 3.

5. I've Got a Feeling:
This is the same mix as compilation 3.
 However, Ringo's end comment, "Glyn, what does that sound like?" is absent. It's not clear if it was omitted on O.P.D. or if it was
 added for compilation three.

6. Get Back:
On O.P.D., this performance begins as it does on compilation 1 (with John's comment, "picks with the fingers"). The song comes to a natural end followed by a few seconds of otherwise unavailable (from multi-track) studio chat among The Beatles.

SIDE TWO

1. For You Blue:
This is the same as compilation 3. Omits the sound of ice tinkling in a glass at the beginning.

2. Teddy Boy:
This is the same as compilation 3.

3. Two Of Us/Maggie Mae:
This is the same as compilations 3 and 4.

4. Dig It:
This is a longer 5-minute edit but otherwise, it sounds the same as the 4-minute edit on compilation three. The additional minute is at 
the beginning of the song. Both edits end the same. The first three seconds of this mix is also found on the oldies compilation
[*NOTE: the edit piece I re-inserted at the beginning is mono, but I used "O.P.D." as a guide for where the edits were originally placed.]

5. Let It Be:
This is the same as compilations 3 and 4.

6. The Long and Winding Road:
This mix is the same as compilation 3. However, it doesn't include John's intro comment, "Are we supposed to giggle in the
 solo?" and Paul's reply, "yeah". The comments are not simply missing from the WBCN broadcast, they are missing on the acetate.

7.
(Get Back - reprise):
This is the same as compilations 3 and 4.

I'm not an audio remixing guru by any stretch of the imagination; I tried as best I could to follow the O.P.D. edits and spacing... It's not perfect, obviously... but still, I hope you like it!

NEW LINK: hxxps://mega.nz/folder/y8QGQZhZ#diYeX0QieTVED07093zqIA

Sources: for most of the audio I used the Get Back 3rd compilation from "Thirty Days" with a few minor edits (based on "O.P.D." LP rip) and inserted approximately 1 minute to the beginning of "Dig It" from "Celluloid Rock" (unfortunately in mono), again using "O.P.D." as a guide for edits.