Some interesting commentary while I've been asleep: Mrs 62 tells me I was tossing and turning in my sleep, so through some sort of miracle that defies explanation, I must have been still logged into this site (and this thread) when I went to bed...!!!
First and foremost, thanks to people who've given these uploads positive commentary (and thanks for getting involved in this interesting thread, everybody).
OK, so I am going to finish off this set, for people collecting these tracks: as I've stated, I want a replica of the lauded Pro Use LP (as it sounds when played on my half-decent hi-fi system) which, as a by-product, does away with the pre-emphasis/de-emphasis process. That's all I wanted out of this project: I'm not going to sit here and type out that this is the only version of Abbey Road you'd need to have (or any silly, hubristic nonsense like that).
When it comes to remastering and remixing in this open-source era, I don't think
any version of an album or a track can be described as
the definitive version, whether it has been prepared by a fan (with love and affection) or by the copyright holders (with dollar signs in their eyes!!).
I thought I'd compare the well-regarded '87 CD version of Come Together to the Pro Use/Black Triangle hybrid version I've prepared and shared and show what would happen if the '87 CD version was used as a basis to equalise the hybrid:
The Pro Use/Black Triangle hybrid version on the top is a tad louder (by 1.164 dB) than the '87 CD version below it and has more spiky dynamics and transients (to my eyes) than the '87 CD version.
There's not a lot of difference between the two in the subsonic end but from about 55Hz to 2kHz, the '87 CD has a deep and wide ditch. From 2kHz to about 12.5 - 13kHz there's a small but steep hill and then a deep hole from 13kHz onwards:
