Tex's "From Me To You" and "Thank You Girl" 2023 remixes

[Lord Reith]

I'm having trouble with "Thank You Girl". The last harmonica overdub from the right channel of the stereo mix doesn't seem to match the last one on the single. I thought well maybe they just repeated the one in the middle of the song which sounds closer but the music bed doesn't match the single either. I'm starting to think the mono and stereo mixes use different harmonica overdub takes.

I finally got the basic tracks to align with the mono single and got the edit points correct but the harmonica sticks out because the background noise is off beat. I may just have to splice in the original stereo mix at that point.

The single cuts to the edit piece at a different point. On the single the edit is just after the final "thankyou girl, thankyou girl..." On the lp it's at the pount where they start singing "Oh! Ohhhhh..." So for that reason the harmonica overdub at that point is different for single and lp. There is no stereo version with that harmonica bit. On my mix I separated the harmonica from the mono and addded it to the raw undubbed take.

[Tex]

I had to delete and replace "Thank You Girl" my mastering program (separate from the DAW) put a large click on the end of it I had to fix that. This happened before on the previous different song. The program was working flawless until the last two songs.

New "Thank You Girl" link:

hxxps://we.tl/t-Zo3ZcsegPU

[BTL1210]

AWESOMDE - Thanks Tex ....

[Tex]

Here are traditional 3-point stereo mixes for the weirdos out there. These are drums left, vocal center and electric guitars right.

"From Me to You" wide
hxxps://we.tl/t-fP2i1QSU51

"Thank You Girl"
hxxps://we.tl/t-fUouwVQdny

[BTL1210]

more AWESOME shares - Thank you Tex ......

[gaizoku]

Thank you

[Tex]

....

[BTL1210]

Thank you Tex for your latest shares .... All the Very Best for 2025 ......

[Tex]

I think I finally conquered the tiny issues with "From Me To You". I had to delete the link because while it sounded perfect on the big speakers and earphones a bit of phasing on the end became very apparent on the computer speakers (2 feet apart) and the car speakers. I made the fatal mistake of NOT listening on all the systems. Phasing is the fiendish thingy that you can't always detect one one system. This is why it's so important to listen on everything you can.

I finally got a good isolation of the guitar + bass overdub in the middle. The previous spectral isolations for the older mixes somehow just didn't grab the clack-y guitar that played along side the bass. This time I did a center channel isolation FIRST and got both guitars. Funnily, the overdubbed bass guitar is playing totally different off-key notes than the original bass on the basic track and there is some real dissonance going on. That may have been intentional by Paul.

I also finally got the end chord without the defect in it. It turns out my source for take 7 ("Complete Recording Sessions") had the defect but "Studio 2 Sessions" does NOT have the defect. The defect is like a thunk with a tape dropout. The end chord is now smooth as it should be. I had to use take 7 and not take 8 (overdubs onto take 7) because you can't totally strip away the harmonica but take 7 had the defect. Take 8 worked fine in the previous mix where I had the harmonica just right of center but this time needing to get more separation was problematic. The previous mix just used take 8 which had all the bits already in place to start with (easier mix). This time going back to take 7 and flying in clean extractions from of take 8/final mix is a LOT more work. The majority of the new mix will be take 7 off "Complete Recording Sessions" with the last chord from take 7 off "Studio 2 Sessions". The drums are upmixed to slight stereo with the usual addition of some upper mids on the snare to enhance clarity and a tiny splash of reverb to enhance sound-stage. In the process I also upmixed the drums for take 8 (before I decided to go back to take 7) and when Ringo hits the cymbals in the outro you can REALLY hear some tape flutter. Take 7 is much smoother.

The more you know...

[salleno]

I think I finally conquered the tiny issues with "From Me To You". I had to delete the link because while it sounded perfect on the big speakers and earphones a bit of phasing on the end became very apparent on the computer speakers (2 feet apart) and the car speakers. I made the fatal mistake of NOT listening on all the systems. Phasing is the fiendish thingy that you can't always detect one one system. This is why it's so important to listen on everything you can.

I finally got a good isolation of the guitar + bass overdub in the middle. The previous spectral isolations for the older mixes somehow just didn't grab the clack-y guitar that played along side the bass. This time I did a center channel isolation FIRST and got both guitars. Funnily, the overdubbed bass guitar is playing totally different off-key notes than the original bass on the basic track and there is some real dissonance going on. That may have been intentional by Paul.

I also finally got the end chord without the defect in it. It turns out my source for take 7 ("Complete Recording Sessions") had the defect but "Studio 2 Sessions" does NOT have the defect. The defect is like a thunk with a tape dropout. The end chord is now smooth as it should be. I had to use take 7 and not take 8 (overdubs onto take 7) because you can't totally strip away the harmonica but take 7 had the defect. Take 8 worked fine in the previous mix where I had the harmonica just right of center but this time needing to get more separation was problematic. The previous mix just used take 8 which had all the bits already in place to start with (easier mix). This time going back to take 7 and flying in clean extractions from of take 8/final mix is a LOT more work. The majority of the new mix will be take 7 off "Complete Recording Sessions" with the last chord from take 7 off "Studio 2 Sessions". The drums are upmixed to slight stereo with the usual addition of some upper mids on the snare to enhance clarity and a tiny splash of reverb to enhance sound-stage. In the process I also upmixed the drums for take 8 (before I decided to go back to take 7) and when Ringo hits the cymbals in the outro you can REALLY hear some tape flutter. Take 7 is much smoother.

The more you know...

Looking forward to it Tex!!!