yymca6 wrote: ↑Sat Feb 25, 2023 10:58 pm
maul wrote: ↑Sat Feb 25, 2023 10:49 pm
oh it's much more complicated : Lewisohn 'version' (April 18, 1965 (RM1-3 from Take 12)) clashes a little with Winn, according to which there are two RM4: on April 18 Barrett reported 3 mono remixes as RM2-RM3-RM4, thus the final remix for Single/LP should be called RM4 #2
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may RM1 be the rough mix made on April 13? or this 'rough mix' mentioned only by Winn never existed?
That might explain what appears in PC's inside art. It says that RM4#2 from Take 13 is the mix used for the mono LP. That would corroborate what is mentioned in HS BTB (that Take 13 would be RM1 from Take 13 done on April 13)
maul wrote: ↑Sat Feb 25, 2023 10:49 pm
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Winn himself changed his mind; now he thinks that 'RM4' were used in the Film and that of production acetate is a Mono reduction of RS1
So RM4 #2 from June 18 would be the mix used for the film, the single and the LP?
1) I don't think PC is correct naming a 'take 13': we know that Take 12 is the final take... as far as I know 'take 13' is only a 'moniker' for a Roger Scott alternative stereo remix (of Take 12)...
2) HS BTB supports Winn 1st version:
Production Acetate= RM4 (
#1)
Film Mix= RMx (unknown remix)
3)So... According to Winn 1
Production Acetate= RM4 (
#1)
Film Mix= RMx (unknown remix)
Single/LP= RM4 #2
4)Winn 2 is slightly different:
Production Acetate= Mono copy of RS1
Film Mix= RM4 (
#1)
Single/LP= RM4 #2