Beatles, the - The Beatles (The White Album) =stereo=

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Originally released in 1968 - 2012 EU Limited edition vinyl 2xLP issue=STEREO Remastered from Original Analogue Tape= pressing on 180gr vinyl=Beatles' ninth studio album, the first album that the group undertook following the death of their manager,...
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  Release date: 08-11-2012(Originally released in 1968)

2012 EU Limited edition vinyl 2xLP issue =STEREO Remastered from Original Analogue Tape= pressing on 180gr vinyl = Beatles' ninth studio album, the first album that the group undertook following the death of their manager, Brian Epstein, and the first released by their own record label, Apple.Includes Double-Sided Photo Montage/Lyric Sheet and Four Solo Color Photos. Cut at Abbey Road Studios by a First-Rate Team of Producers and Engineers: Stringent Procedures and Safeguards Ensure Optimum Audiophile-Quality Sound

Comprised of material each member wrote on acoustic guitars while on a spiritual retreat in India The Beatlesmost commonly known as The White Album remains the bands most expansive and for multiple reasons famous record While its doublealbum sprawl suggests indulgence there are few if any missteps It stands as the groups last oneforall allforone effort even if most of the songs double as solo material given the singing by individual members on many of the tracks Fortyplus years on its impossible not to love whats here And now with this 2LP pressing youll worship it

Tracks:
A1 Back In The U.S.S.R.     
A2 Dear Prudence     
A3 Glass Onion     
A4 Ob-La-Di, Ob-La-Da     
A5 Wild Honey Pie     
A6 The Continuing Story Of Bungalow Bill     
A7 While My Guitar Gently Weeps[Guitar– Eric Clapton]
A8 Happiness Is A Warm Gun
    
B1 Martha, My Dear     
B2 I'm So Tired     
B3 Blackbird     
B4 Piggies     
B5 Rocky Raccoon     
B6 Don't Pass Me By     
B7 Why Dont We Do It In The Road     
B8 I Will     
B9 Julia
    
C1 Birthday     
C2 Yer Blues     
C3 Mother Nature's Son     
C4 Everybody's Got Something To Hide Except Me And My Monkey     
C5 Sexy Sadie     
C6 Helter Skelter     
C7 Long, Long, Long  
 
D1 Revolution 1     
D2 Honey Pie     
D3 Savoy Truffle     
D4 Cry, Baby, Cry     
D5 Revolution 9     
D6 Good Night

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With EMI’s legendary Abbey Road Studios providing the backdrop, the four-year restoration process combined veteran expertise, state-of-the-art equipment, vintage studio gear, and rigorous testing to net what is without doubt the highest fidelity possible and authentic, jaw-dropping sound guaranteed to rival the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings.

At the start of the restoration process, engineers conducted extensive tests before copying the analog master tapes into the digital realm using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance, and poor edits were improved upon as long as it was determined that doing so didn’t at all damage the integrity of the songs. Similarly, de-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music.

In cutting the digital masters to vinyl, stringent safeguards and procedures were employed. After cutting to lacquer, determined to be warmer and consistent than cutting to DMM, the next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting,' a procedure to increase the sound level.
 
Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation.  For example, each vinyl album was listened to for any ‘sibilant episodes.' vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect.

Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the center of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.
 
The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

For this project, there was no such thing as too many cooks in the kitchen. Yes, it took a village to get it right.

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