Complete Recording Sessions NEW UPDATES (Vol. 13 V2 available)

[Alessandro Rocchi]

for those who are still burning these set on CD-R (I use to burn it on vintage-vinyl-like CDR); an advice about the best way to split this set on 2 Cds.
Which track should open Disc 2 ?

yes I will burn everything but regarding the studio sessions, what are your suggestion to split the studio "stuff" into 2 CDs. Which song to start CD2 ?

I'd start Cd 2 with Eleanor Rigby take 2 from April 28th sessions. On Cd 3 Shea and Vintage Mixes. Just my 2 cents, of course...

[masterjedi]

csnyfan and MasterJedi, these sessions are amazing. I love the isolation mixes; especially these wonderful vocal harmonies + Paul's vocals on Here, There and Everywhere; and this track with Paul talking recently about Here, There And Everywhere (did you emphasize the vocals near the end where we can hear John ?)

That one is just as it appeared on the McCartney 3, 2, 1 documentary.

Did you boost the vocals or tweak the track of Eleanor Rigby take 2 ? It sounds better than the Revolver deluxe track (the violins, and George (I & II) and Paul's comments)

All the levels are smoothed out to remove the selective boosting that was done. This is thanks to Csnyfan's amazing decompression tool.

Did you skip John's studio demo from "Yellow Submarine" because it did not take place at Abbey Road ?

yes

Will you include your csnyfan mixes (For No One, etc...) ? that you shared on csnyfan's projects ?

If they are relatively artifact free, then yes! For No One is close, but the drums aren't quite there yet.

sorry that means a LOT of questions, but this set is fantastic

I would expect no less from you.

[masterjedi]

Up for discussion: The announcement for IOS tk 1 should move to before the beginning of the instrumental take (5).

Both the IOS vibes rehearsal and IOS takes 1-5 (these are the ones with guide vocal, I presum) appear to be dated April 28 on the tape box. The chronology of the listing on the tape box indicates that the ER tape reduction came first, then the IOS rehearsal, which was finally mostly wiped by takes 1-5.

Takes 1-11 are dated April 27 on the Barret logs and the SDE book. Does anyone have a photo of that tape box (E59748)?

So were the instrumental takes first, then they recorded new takes with guide vocal, only to move forward with the older instrumental takes?

Also, the master take as found on IOS RM1 appears to need a whopping 17 % speed increase (give or take a little) to bring it to the speed it was recorded at. I compared the spectral fingerprint of the cymbals as they have fixed pitch, and found a good match between that and the SDE take 5. I'll try to get the backing track at that speed...

I think I get what you're saying. There seems to be 2 take 1s. So which does the take one announcement belong to?

[csnyfan]

I think I get what you're saying. There seems to be 2 take 1s. So which does the take one announcement belong to?

The SDE book says the anthology CD take 1 has the announcement from the wrong take 1 attached. So I'm thinking it goes before the take 5 that we have, which is from the other, entirely instrumental session.

[Ants]

I see what you mean about the speeds! I'll fix For No One for sure, not sure yet if I'll do anything about I'm Only Sleeping since everything was recorded at different speeds (some negative).

Hard to say about the Rockband count-ins. Some are genuine, some from other places. This one sounds similar enough to the other takes of AYBCS though, so I think we should keep it.

And the horns on GTGYIML are a bummer. I did look at this but quickly wrote it off as irredeemable. Maybe Lord Reith could have a look since I know he mentioned it too.

Thanks for the information.

I was also thinking...
The ending of Rain (Take 5) (Actual Speed) is faded out in the SDE, but the slowed down one has it in full (someone, I think it's Lennon, says "apparently").
Would it be possible to take that unfaded ending and replace the faded one? I know, it's an extremely small part, but it would still be nice to have it.
Also, I can imagine they were mixed differently, and, maybe, it's not possible to isolate the drums+guitars track perfectly from the slowed down version (at the end), etc.

Also: is it possible to have the real count-in of Taxman (preceded by the chat that was there before) without all the other overdubs (screeching guitar, fake count-in, cough)?

Well, I'm quite surprised that For No One (Take 10 - Live Basic Track) didn't make the cut, because I love the reconstructions, isolations, etc. that were featured in the old BootlegZone Complete Recording Sessions: even if they were not perfect sometimes (but other times they were!), I really enjoy them.

But, as I said before: great work, as usual.

[LFSDoc]

wonderful stuff this, Agnes!
a couple of (maybe - if I read to the SDE book correctly)) misplaced chats:
- the bit after take 4 of I Want To Tell You should be placed before take 1's announcement, since it belongs to a rehearsal take
- the first part of the chat preceeding the She Said SHe Said rehearsal take should belong to the proper recorded takes (between takes 2 and 3?), not clear where one bit ends and the other starts though...

thanks so much for your great work

Doc

[Rupert Pupkin]

csnyfan and MasterJedi, these sessions are amazing. I love the isolation mixes; especially these wonderful vocal harmonies + Paul's vocals on Here, There and Everywhere; and this track with Paul talking recently about Here, There And Everywhere (did you emphasize the vocals near the end where we can hear John ?)

That one is just as it appeared on the McCartney 3, 2, 1 documentary.

Did you boost the vocals or tweak the track of Eleanor Rigby take 2 ? It sounds better than the Revolver deluxe track (the violins, and George (I & II) and Paul's comments)

All the levels are smoothed out to remove the selective boosting that was done. This is thanks to Csnyfan's amazing decompression tool.

Did you skip John's studio demo from "Yellow Submarine" because it did not take place at Abbey Road ?

yes

Will you include your csnyfan mixes (For No One, etc...) ? that you shared on csnyfan's projects ?

If they are relatively artifact free, then yes! For No One is close, but the drums aren't quite there yet.

sorry that means a LOT of questions, but this set is fantastic

I would expect no less from you.

well, I have to tell you that this is not only a matter of new audio so-said "A.I" software; years after years you never ceased to impress me with your audio skills.
I still remember csnyfan first "attempts" at bootlegzone to create a stereo mix of the Kinfaus/Esher demos. And I still have somewhere his multiple attempts.
What a way!
I wonder why they did not offer "Glass Onion" with boosted vocals like csnyfan on White For Fun.
And when I listen to the Atmos mix of the official Revolver album especially "Here, There And Everywhere" and discover some obvious demux audio artefacts on several channels; really it sucks. They knew this mix was already obsolete and the limitation of audio tools is not an excuse.
You have some higher policy and quality requirement in your team.

Put in the hands of csnyfan or you guys, I wonder if csnyfan could isolate now the first guitar solo of David Gilmour on "Shine On" (one piece) on the Pink Floyd - Extraction Tapes (best source on Yeeshkul) or the first guitar solo on "Dogs" (removing the "known" solo they kept for the official album). Such mix with the early guitar mix would be fantastic since the 2 guitar are interlaced (one is a rough solo, the other is a part of the final one)- I wonder why the Floyd community did not try to work with the same audio tools on the Pink Floyd studio material; especially considering the poor and frugal quality of what is offered officially (for instance, the Animals box set)

Well, I just think that it's a bit sad to put away John's sad melody and early lyrics a-la Strawberry Fields Forever of Yellow Submarine. But I understand that you have some rules for this series (no demos, even if this is "I'm In Love")

[masterjedi]

I was also thinking...
The ending of Rain (Take 5) (Actual Speed) is faded out in the SDE, but the slowed down one has it in full (someone, I think it's Lennon, says "apparently").
Would it be possible to take that unfaded ending and replace the faded one? I know, it's an extremely small part, but it would still be nice to have it.
Also, I can imagine they were mixed differently, and, maybe, it's not possible to isolate the drums+guitars track perfectly from the slowed down version (at the end), etc.

looking at it quickly, it seems quite doable. It's already almost all there, just faded really low. Good suggestion, Ants!

[Rupert Pupkin]

I was also thinking...
The ending of Rain (Take 5) (Actual Speed) is faded out in the SDE, but the slowed down one has it in full (someone, I think it's Lennon, says "apparently").
Would it be possible to take that unfaded ending and replace the faded one? I know, it's an extremely small part, but it would still be nice to have it.
Also, I can imagine they were mixed differently, and, maybe, it's not possible to isolate the drums+guitars track perfectly from the slowed down version (at the end), etc.

looking at it quickly, it seems quite doable. It's already almost all there, just faded really low. Good suggestion, Ants!

yes unfading will reveal more! I'm confident with the result

[masterjedi]

wonderful stuff this, Agnes!
a couple of (maybe - if I read to the SDE book correctly)) misplaced chats:
- the bit after take 4 of I Want To Tell You should be placed before take 1's announcement, since it belongs to a rehearsal take
- the first part of the chat preceeding the She Said SHe Said rehearsal take should belong to the proper recorded takes (between takes 2 and 3?), not clear where one bit ends and the other starts though...

thanks so much for your great work

Doc

Yes, nice catches, Doc. I'll separate them out.