And later on my main system (LP12 based). It was issued in January of 1967 in the UK as the fifth album and in February as the seventh American album. Now that's not to say they won't sound decent and can't, because they can, but they just won't be in the same class as say a pre amp, amp and speakers setup perfectly in a room that is acoustically treated which is the way my system is setup. He emailed this, with permission to share: “Yes, unlike the Beatles where it was all recorded and mixed basically at EMI and was quite consistent, the Stones were recorded and mixed all over the place and there was very little consistence from track to track. It is cheaper that's for sure. It doesn’t get any better than that! There’s really no comparison that favors the originals, unless you are hopelessly nostalgic. And my computer speakers are discerning enough to hear differences in recordings. However, The Rolling Stones in the 1960s was a band that played live in the studio and depended upon microphone distance and instrument placement for a good mix more than they depended upon getting it right in the mix. I can say IMO Saucerful of Secrets and Obscured by Clouds are both excellent quality reissues in every regard. Phono stage here|>--<|Preamp (or integrated) here, Hey Michael, great review as ever mate, always an insightful read. I got the impression you were insulted as well. My speakers, designed by the guy behind Eminent Technologies, are pretty good at relative accuracy. EMI chose the studio (Abbey Road) and EMI chose the engineer.

I can't listen to a poster. There’s no way to avoid that, nor is there any way for you to avoid having every record you play take on the character of your system, though of course over time you get acclimated to it and don’t hear it until you hear a familiar record on someone else’s system. The Monsoon speaker setup is no exception even though they are a good setup.

When exposed to the original mono mixes of familiar “stereo” mixes, today’s more sophisticated listeners can easily grasp the superiority of the mono mixes, which have a coherency, solidity and yes, depth of field that make the stereo mixes sound disjointed and far less satisfying. With The Rolling Stones in Mono, ABKCO, which owns the Rolling Stones Decca catalog, gives us, for the first time, the complete English and American Rolling Stones catalog in glorious monophonic sound. I love the early Stones and do not own any of their original mono records. Michael, did someone tell you that Ludwig did new work on these especially for the mono box? ", Not quite identical - "Mona" although on the 1st UK album, was replaced by "Not Fade Away" on the US "England's Newest Hitmakers", and "Mona" appears for the first time in the US on "Now!"

Love M Fremer reviews. No, no, not offended at all. It's often unfair to compare the Rolling Stones to the Beatles but in the case of the group's mono mixes, it's instructive. I'll use the remastered All Things Must Pass as an example. An engineer for GZ told folks on the Steve Hoffman forum that Abkco sent GZ 24/192 PCM copies of the DSD masters for the 2011 box. I'm sure your PC is amazing and your main rig is 'pretty good'. You are probably also aware that there are those who prefer Beatles original Parlophone monos over the new ones, even though the new ones are more neutral. Vinyl Reports: Real Life Record Shopping Returns! I can't afford the vinyl edition at this point but could purchase the CD set.

It should not be for sale on the marketplace per Discogs's terms and conditions. That’s all. Complete your The Rolling Stones collection. The American Beatles release story is more complex, with Vee-Jay handling the first record called Introducing The Beatles (plus singles on Tollie and Swan) and then Capitol taking over starting with Meet The Beatles and eventually gaining control of the Vee-Jay material, which it later released as The Early Beatles. The Rolling Stones in Mono was mastered by acclaimed GRAMMY award winning engineer Bob Ludwig at Gateway Mastering. Don't get me wrong, I like the stereo, too and if push came to shove I would pick the stereo if I could only keep one.

And moreover, some people said that beggards banket and let it bleed come from the stereo mix to do a mono.and that mono box come from the stereo dsd to mono?.

No clean, modern DSD remastering with a full range of frequencies and no compression or bass limiting can EVER ever ever ever ever ever ever do justice to those garbagy sounding originals. NOT trying to insult anyone- I appreciate their assessments as they hear it. So my question is not about sound because I m agree with Michael Fremer, we have to listen to it and to choose. The two fold downs I still have to think about. Talk about generalizations.

I also have the 2002 Remastered versions of these albums – but they would put stereo versions of songs that sound GREAT and mix them in to mono albums… making them very uneven to listen to! One mono album is missing entirely (Got Live If You Want It). Yes, you can EQ each record to resemble the original if that’s your goal, though you’d not want to chop off the bass on the tape or cut dynamics for the sake of “authenticity”, but in the end the sound of the mastering chain will poke through, producing a similar character to all of the records in the box. Similar to headphones, there are benefits with nearfield listening, including less room interaction, and it generally takes less heroic efforts to uncover fine detail.

Anyway, just speculating. They are, for instance, FAR more accurate and revealing than my car system, which clearly masks and colors the music. Now, it wasn't always the case but it sure was most of the time. It had tunes left of off the American Aftermath and Between the Buttons plus three never before released tunes “Sitting on a Fence”,”Ride On Baby” and “My Girl”. To complicate things further, the box -- which runs 15 discs in its CD version, 16 LPs in its vinyl incarnation -- sometimes contains both the British and American releases of a particular title (Out of Our Heads and Aftermath), while others are available in only one iteration (Between the Buttons is only present in the U.K. version).

Chet. I have the original US of this album and the dsd 2003. If you have the DECCA originals you’re not shopping for these anyway. I went back to the original after listening to both to give it an A:B:A comparison. Thanks again. It can be done if the willingness to make the effort is there. In the early days of stereo having different sounds coming out of two different speakers (plus the “phantom” center channel) was a dazzling novelty making it easy to ignore the disjointed and artificial soundstage, with each of the channels having its own compartmentalized sonic environment.

was issued in America only as the third Rolling Stones album and again it was recorded in Hollywood, Chicago and in London at Regent Sound. I do wonder which earlier tracks are fold downs as well, or if before Beggar's everything was a dedicated mix, rumors arise again on the internet (in the article I liked the mention of the importance of the placement of everything in the studio, above the final mixing, Dylan recently proved how beautiful that can work and I always work that way with my bands). Could you pls explain how a Y-connector works? I'm on the fence with this one. So, no big deal, I guess :), Terrific and thorough review - I've ordered mine (CD, Amazon UK - WAY cheaper as the poor old pound sterling is taking a beating!). The Rolling Stones “answer” to Sgt.

The stereo box cover is far better. Plus, hearing the Stones in mono winds up being a hot wire back toward the '60s: this feels raw and vibrant, as alive as the band was in the '60s. Never mind. A mess! My counterfeit copy doesn't have the F at the end of each of the matrixes. Ironically, I prefer the compressed original because this sonic artifact is not noticeable on the original. At some point these American masters were probably copied “for safe keeping” with the copy becoming the “master” available for future reissues. As far as the Rolling Stones in Mono goes it ROCKS!! Which most certainly can handle bass. And everything in between. Whatever your personal findings and feelings about the originals are, I will always take Fremer's opinion over a random readers', as he has proven through years of professional reviews that he can be trusted and that his finding are accurate. A professional, classically trained musician who has been playing for about 50 years, so I'm not some schmoe when it comes to music and sound. Perhaps in Mikey's system and setup, I might render a different opinion. Thanks so much, Michael, for such a detailed and in depth review. One person said the reissue sounds “muddy”. Just match the levels and live with it. Schiit Audio Announces SOL Turntable Pulley Update, Blue Note Announces Classic Vinyl Reissue Series, The Schiit SOL Turntable (Updated 10/26/2020), Audio-Technica Debuts AT-PEQ30 "High-Performance" MM/MC Phono Stage, 7” Review Explosion: Blur, Spiritualized, and Billie Eilish (+ An Art Book Flexi), Revox Re-Enters the Turntable Market With T700, Vinyl Review Explosion: Spiritualized, Bob Dylan, and Carly Rae Jepsen, RSD Review Explosion, Part 2: David Bowie, Ron Carter, Clipping, and Tyler, The Creator, iFi's iPhono 3 MM/MC Phono Preamplifier Takes A Giant Sonic Leap Forward.

This is great value for your money! But you are the best Michael and this review proves it again!! I have a pretty sizeable collection of Stones stuff, including the DSD reissues. Get it right, though, and the soundstage and imaging snap right into place. The vinyl dead silent, though sometimes some cleaning was required, the sound clear and full of dynamics, with details never heard and sometimes placed in better context. Your reviews are a public service. I was looking for single "I Wanna Be Your Man" by RS and found on Discogs the B-Side song "Stones".

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