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Engonoceras wrote: ↑Sat Oct 29, 2022 2:27 pm The drums separation on "Good Day Sunshine" sounds artifact-y to me or at least less than hi-fi but then that's not a great recording to start with.

Probably the reason why there is no 5.1 in the set.

But then, I have to say that the demonstration that Giles Martin showed using Taxman is really impressive (better than what I've heard here, with any track).
But maybe with other tracks (and with different instruments stuck together) it doesn't work too well?

Ants wrote: ↑Sun Oct 30, 2022 12:46 am But then, I have to say that the demonstration that Giles Martin showed using Taxman is really impressive (better than what I've heard here, with any track).
But maybe with other tracks (and with different instruments stuck together) it doesn't work too well?

I've noticed that they've chosen their examples carefully. Taxman is not a difficult song to demix because the individual parts are very defined. At the other end of the spectrum, She Loves You is a real challenge because it is a monolithic and impervious wall of sound. If they could get clean separations of that one, THEN I'd be very impressed!

Lord Reith wrote: ↑Sun Oct 30, 2022 12:50 amI've noticed that they've chosen their examples carefully. Taxman is not a difficult song to demix because the individual parts are very defined. At the other end of the spectrum, She Loves You is a real challenge because it is a monolithic and impervious wall of sound. If they could get clean separations of that one, THEN I'd be very impressed!

Yes, I thought about that as well.

Although I don't think Demucs and/or other available software can separate those three Taxman instruments as cleanly as MAL seems to do.
Maybe MAL is just a little better than what we have... but I have to say that the Taxman solo was not separated perfectly from the tambourine (for example).

I really don't know if, someday, a software will be able to perfectly separate She Loves You into multitracks. Maybe that's just too much...

I only have the single disc "Revolver" but find it facnating that there is a demo by John of "Yellow Submarine".
Does anybody know when it was recorded?

I just played a bit guitar to Rain speed version. Capo third fret fits playing the G/C/D chords. Ok, why not...

Lord Reith wrote: ↑Sun Oct 30, 2022 12:50 am

Ants wrote: ↑Sun Oct 30, 2022 12:46 am But then, I have to say that the demonstration that Giles Martin showed using Taxman is really impressive (better than what I've heard here, with any track).
But maybe with other tracks (and with different instruments stuck together) it doesn't work too well?

I've noticed that they've chosen their examples carefully. Taxman is not a difficult song to demix because the individual parts are very defined. At the other end of the spectrum, She Loves You is a real challenge because it is a monolithic and impervious wall of sound. If they could get clean separations of that one, THEN I'd be very impressed!

Agreed on She Love You they trying to fix it since 1966 or maybe before that

I got some reasonably good extractions on SLY but it was a lot of work. MAL might be a little more advanced but not by much, and that is only until the next update of Demucs arrives.

georgefromhenley wrote: ↑Sun Oct 30, 2022 6:19 pm I just played a bit guitar to Rain speed version. Capo third fret fits playing the G/C/D chords. Ok, why not...

I’m telling you…it doesn’t sound “right” at all…Great stuff though!

I've been listening to the Revolver Remix a fair bit, so here's a few of my thoughts.
1. The guitars on "Taxman" might have benefitted from one more attempt at demixing, as they (especially the solo) don't feel very "fluid" to my ears. However, when the chorus comes in, I can't really hear it anymore, so I guess mix prominence is a factor here.
2. On the other hand, "Eleanor Rigby" is great, and it's basically how I imagined a modern-ish mix to sound.
3. Same with "Tomorrow Never Knows", actually; it might be my favourite mix Giles has done for any of these albums. I could probably spend the rest of this post gushing about it, I like it that much.
4. The mixes of "Paperback Writer" and "Rain" sound pretty tight; "Rain" in particular I have a lot to say about. There is some weird phasing in some of the elements, but due to the track's explicitly psychedelic nature, it's forgivable (and, to some, desirable). The snaps in the intro to that song really, well, snap.
In conclusion, I haven't spent enough time with the album to truly determine if it is Giles's best mix, but it certainly isn't his worst (IMO, anyways)