Album: Mr. Tambourine Man
·
Original Stereo LP (vinyl): Columbia CS 9172
(Released 6/21/1965; 1A pressing)
·
Original Stereo Mix on CD: Columbia CK 9172 (1987;
hereafter referred to as ‘Columbia’)
·
Original Box Set: The Byrds. 4 CD Boxed Set.
Columbia/Legacy C4K 46773 (10/19/1990; Digitally remastered and remixed by Tim
Geelan and Vic Anesini; We Have Ignition disc; hereafter referred to as
‘box set’)
·
20 Essential Tracks from The Boxed Set: 1965-1990. Columbia/Legacy
CK 47884 (1992; hereafter referred to as ‘Essentials’)
·
Remixed (partially) and Remastered CD:
Columbia/Legacy CK 64845 (4/30/1996; hereafter referred to as ‘Legacy’)
·
Original Mono Mix on CD: Mobile Fidelity Sound Lab,
Inc. UDSACD 2014 (Mono Album Mix + Bonus Tracks from Legacy CK 64845; 2005;
Mastered by Shawn R. Britton; SACD playback; hereafter referred to as ‘MFSL
SACD’)
·
“Original Album Mono Version” with “Mono Bonus
Tracks” (2) and “Original Album Stereo Version” with “Stereo Bonus Track”. Sony
Music Japan International Inc. SICP 20372 (Blu-Spec CD. Made In Japan. 2012;
hereafter referred to as ‘Blu-Spec CD’)
·
Gene Clark, Echoes. Columbia/Legacy CK 48523
(1991; Digitally remixed and remastered by Vic Anesini)
·
The Columbia Singles ’65-’67. Sundazed LP 5130
(2002; hereafter referred to as ‘Sundazed LP set’ )
Number of Remixed Tracks on the Legacy CD, CK 64845: 9 (out of 12)
Remixed Track Numbers: #1, #2, #3, #4, #5, #6, #7, #8, and #10.
Background
After detailed listening comparisons, it
was determined that the 1987 Columbia CD had been sourced from an EQ’ed,
second-generation ‘cutting master’ copy
tape. Otherwise known as a ‘production master’ used to cut records from, this
tape would have been derived from the ‘flat’ original 2-track stereo mixdown
master tape, but with the bass output reduced while the treble frequencies were
boosted. Without this special equalizing compensation, especially regarding the
low bass frequencies, the stereo disc-cutting heads used in the manufacture of
vinyl records would have distorted on the front end, while a consumer’s phono
cartridge stylus from that era would have mis-tracked a stereo LP’s grooves,
potentially jumping from the vinyl surface (for insightful discussions of this
topic, see both Roger Ford’s essay at
http://www.rdf.pwp.blueyonder.co.uk/MonoStereo/MonoStereo.htm and John Bauldie’s interview with Steve
Hoffman at http://www.edlis.org/twice/threads/hwy61_DCC.html
).
The above deduction explained why the 1987 Columbia CD lacked the lower bass output of the other sources,
and generally displayed a shriller, excessive top-end and a predominantly
mid-range sound. Such a conclusion has been corroborated by Steve Hoffman, who
has observed that this CD was “ … probably made from a cutting master.” (http://www.stevehoffman.tv/forums/archive/index.php/t-168784-p2.html;
8/7/2011). Co-incidentally, Bob Dylan’s Highway 61 Revisited album, also
released on CD by Columbia earlier (1984), was also sourced from a ‘cutting
master’ copy tape with similar sonic
shortcomings (http://www.rdf.pwp.blueyonder.co.uk/H61Part2/H61Part2.htm;
Dylan’s album was originally released as a stereo vinyl LP on 8/30/1965 by
Columbia Records, just over two months after the Byrds’ Mr. Tambourine Man).
It should be noted that if a safety copy of the Mr. Tambourine Man
master tape had been used instead of a cutting master copy for the Columbia
disc- even a higher generation (3rd-4th) safety copy- the
sonic results would have been better, and the original stereo mixes would have
been preserved digitally in a more accurate manner. Nevertheless, the tape from
which the Columbia CD was sourced from- likely several generations down from
the initial cutting master, which was already one step down from the original
master tape- was in reasonably good shape. Unlike the next two Byrds’ studio
albums released on CD by Columbia in 1987 and 1989, fortunately this Columbia
disc did not have any audible tape hiss or flaws- even when listened to on
headphones.
Notwithstanding the sonic limitations discussed above, the Columbia CD
was still useful in corroborating the location of instruments across the
soundstage. It of course could not be used to compare the sound, tone, and EQ
of instruments, or the overall frequency balance of a track. The original vinyl
LP and the relevant tracks from the box set disc served as the benchmarks for
the 1965 stereo mix in the following detailed listening comparisons with the
Legacy CD.
Remixed Tracks
·
Mr. Tambourine Man (Track #1)- By far the most
obviously remixed song from this album,
this wide stereo remix first appeared on the 1992 Essentials CD. Digitally
remixed and remastered at that time by Vic Anesini and Tim Geelan “from the
original eight-track master” (liner notes), the same remix was used for the
1996 Legacy CD, albeit with slight EQ and mastering differences, running about
2.5dB ‘hotter’ than the 1992 version on average. As well, the Legacy version
utilized the newer 20-Bit mastering and ‘Super Bit Mapping’ technologies, which
in this writer’s opinion made minimal audible difference to the sound.
My conclusion regarding the
similarity of this remix presented on the two CD’s is based on careful
listening comparisons and calibrated meter data. After compensating for the
higher mastering level of the Legacy CD, I was struck by the corresponding
consistency in channel output levels between the two discs, merged from three
separate sessions: out of 24 musical cue points throughout the song, 22 (92%)
of them matched exactly for both channels. These numbers included the first
three spots at the song’s start, through the vocals dropping in (at 00:08), as
well as five points during the fade-out, which were all synchronized precisely.
Even for one independent measuring session (conducted on 6/29/2013), 88% (21)
of the points registered within 1dB for both channels-meaning one
channel matched exactly while the other was off just 1dB-while 58% (14) lined
up exactly, including the start (3) and fade-out (5) spots. The three spots
where discrepancies were observed deviated by 2dB in one channel.
The above results provide
conclusive proof that the remixes were identical and derived from the same
eight-track master. The fact that there were minor irregularities can be
explained by the likelihood that different equipment was utilized, aside from
the newer digital technologies used in mastering the1996 Legacy CD (20-Bit
digital filtering, developed in1993; Super Bit Mapping circuitry, 1994).
Sonically, besides the dramatic
intro, when Roger McGuinn’s iconic Rickenbacker 360/12 opened in the right
channel (RC) followed by Larry Knechtel’s memorable bass line from the left
channel (LC), this wide stereo remix was notable by including Leon Russell’s
electric piano (LC), which essentially had been deleted from the vintage 1965
mixes (mono and stereo). Nevertheless, aside from the sweeping presentation of
instruments, led by the Rickenbacker and the bass guitar, this wide stereo
remix minimized Hal Blaine’s powerful drums (RC) and the bass guitar output,
which in turn diminished the focused impact of the song as heard on the
original mixes.
These were the inevitable tradeoffs
resulting from certain decisions made in the remixing process. McGuinn’s
superbly-crafted lead vocal on the remix was noticeably flat and ‘dry,’ with no
depth to it- in sharp contrast to the 1965 mixes (especially stereo). As well,
both the aforementioned 1992 and 1996 discs featured the same extended fade,
adding eleven seconds to the track’s length (2:29). It was interesting to
notice that the bass guitar rose in level twice during the fade out.
Another salient aspect of the wide
stereo remix that merits discussion is the level and EQ of the 12-string. As
John Nork of the Tracking Angle observed in an interview with Roger
McGuinn, the Rickenbacker “… was mixed
way too low….” Alternately, McGuinn “… didn’t mind the level on it so much as
the EQ. I think the EQ was a little too treble for my tastes. I don’t know if
they were going for the original or what, but I don’t like it that thin.” (http://www.analogplanet.com/content/roger-mcguinn-speaks-john-norkpart-1-0).
Separately, McGuinn explained to Andy Ellis in Guitar Player that the
iconic jingle-jangle sound of his 12-string was caused by engineer Ray
Gerhardt’s use of two tube compressors on the Rickenbacker’s output, in series,
and then fed directly into the recording console- all as a measure of
protection (Ellis, 2004). As well, the utilization of an Epiphone amplifier
contributed to this unique tone of the 12-string (Hjort 2008, 24).
In this writer’s opinion, it
sounded like a bit of both factors- the mix level and the EQ applied- that
affected the sound of the Rickenbacker on the remix.
It is this writer’s
contention that the existence of the 1992 wide stereo remix influenced Bob
Irwin’s decision to use it instead of the original mixes-either mono or narrow
stereo. To be fair, the latter understandably may not have been available, or
was probably in substandard shape. Perhaps Irwin felt that the admittedly wide
separation and enhanced detail of the remix, despite its revisionist nature and
complete dissimilarity from the original mixes, was preferable sonically.
Then there is the
fascinating matter of the mix used on the original 1965 stereo LP. As presented
there, the stereo separation between the Rickenbacker, the other instruments,
and the vocals was negligible, to the point where it might as well have been in
mono. When listening through headphones, the Rick entered to the left of
center, from the left gap (LG), followed by the bass guitar; McGuinn’s vocal
was virtually centered. On the song’s ending, the Rickenbacker and bass guitar
exited from the LG. On speakers, the effect was similar: the centered vocal had
considerable natural echo, while the tambourine from the LG had noticeable
sparkle, and at times seemed to resonate from the RG. At about the 1:31 point,
Hal Blaine’s powerful drumming extended slightly further to the left (almost to
the LC), another example of a sense of space absent from the mono mix. The
natural echo on the vocals- McGuinn’s lead vocal, David Crosby’s high harmony
part, and Gene Clark’s doubling of the lead- was due to the cavernous size of
Columbia Records Studio A in Hollywood. It was noteworthy that all the
available sources used for listening to the original narrow stereo mix
consistently shared these sonic characteristics (1965 stereo vinyl LP; Columbia
CD, with the bass predictably 2-3dB down in level; and the Blu-Spec disc, track
#15-easily the best digital version of this mix).
Ultimately, this narrow
stereo mix had more of a sense of ambience and air than the mono mix, which was
tighter and more ‘in your face’. Certainly, this writer can understand why some
fans have advanced the case that the
mix on the original stereo LP was monaural, having been on both sides of this
situation for many years myself. Nevertheless, there were additional critical
aspects of this topic that I uncovered in my research that convinced me that
this was indeed a unique narrow stereo mix- not a mono mix that had been
transferred with a stereo tape head with resulting phasing issues. There simply
were too many differences to support the ‘mono mix’ theory, in my view.
First of all, the excellent mono
hit single (‘45’) ran slightly shorter (barely 2:16; against a listed time of
2:18), had slightly less natural echo on the vocals, and sounded relatively dry
and compressed. The mono album version, as presented on both the MFSL SACD and
the Blu-Spec CD, ran a bit longer ((barely 2:17), had more echo on the vocals
than the single, while the tambourine sounded louder- closer overall to the
narrow stereo mix. Admittedly, most of these differences could be attributed to
the different media sources- SACD versus vinyl LP; of course there was only one
mono mix. Additionally, as one would have expected, the mono mix (single and
album) had everything centered from the song’s start, including its fade out-
there was no panning away towards the LG. On all three sources for the narrow
stereo mix (1965 vinyl LP; Columbia CD; and Blu-Spec disc) the track timed out
to 2:18 (versus a listed length of 2:20).
Furthermore, meter
observations revealed that the mono mix naturally had a 0dB output differential
between channels as McGuinn’s Rickenbacker opened at the song’s start, whereas
the stereo mix had an 8dB channel differential on all three sources used, with
the LC dominant (stereo vinyl LP; Columbia CD; and Blu-Spec CD, track #15).
Likewise, the two versions of the mono mix (Sundazed LP for the single; MFSL
SACD and the Blu-Spec disc for the album version) all increased 9dB in level
from the opening to the point where the harmony vocals and drums entered
(00:08), while the stereo mix showed gains of 6dB (LC) and 12dB (RC).
Significantly, on the outro after
the vocals had ended and a few notes were played by McGuinn on the
Rickenbacker, the bass guitar (after 2:05) increased by 2dB once on the
original stereo mix before fading, whereas the mono mix did not register any
such gain- the bass held steady, and then naturally dropped in volume
throughout the quicker fade-out. It was also interesting to note that the mono
single mix presented on the Sundazed LP had matched channel output levels on
75% of twenty musical cue points. The corresponding numbers for the mono album
mix as presented on the Blu-Spec disc were 50%, while the MFSL SACD registered
exact channel matches at a 40% rate among the selected sample spots.
On the other hand, it was
quite noteworthy that on the stereo mix, during the main section of the song
(00:25-2:01) encompassing 14 cue points, the Columbia CD had exact channel
(LC and RC) matches on 93% (13) of them, while the Blu-Spec disc (Track #15)
was close behind, with 86% (12). As has been pointed out, there naturally were
significant normal channel level mismatches on the intro-until the vocals
entered- as well as on the fade-out.
Undeniably, the mono mix
(single and album) of this classic song offered an even more profound, quite
powerful sonic experience than the narrow stereo mix: McGuinn’s opening
crystalline riffs on the Rickenbacker served as an arresting clarion call,
followed by Knechtel’s dominant ascending bass line, and then Blaine’s monster
drums with their deep impact. The original stereo mix, despite its lack of
separation, nonetheless offered a reasonable alternative way of hearing this
great song, with a touch more detail on the vocals and higher frequencies.
For these reasons, it is
this writer’s view that the 1965 stereo LP featured a very narrow stereo mix,
which was different than the dedicated mono mixdown master. One can logically
deduce that the mono single mix was naturally prepared first (single released
4/12/1965), followed by the mono album version of the same mix, and finally the
song’s narrow stereo mix for the stereo album (the last two were both released
6/21/1965).
On the stereo front, that
leaves the rather strange stereo remix done by James Dickson, the group’s first
manager, and Lawrence Wendelken, that first appeared in 1987 on the vinyl LP Never
Before (Murray Hill/CBS Special Products A 21143), then in 1989 on an
expanded CD with the same title (D 22808), and finally on the box set. This
remix had the Rickenbacker centered on the intro, sounding solid, but then when
the bass guitar entered slightly to the left, it sounded quite thin and hollow,
aside from being severely under-mixed. In addition, the vocals and tambourine
sounded recessed, while the drums lacked resonance-all panned slightly to the
left of the center; the remix had a mechanical air to it with ample reverb
added. Overall, one can tell that an attempt was made to make this early remix
faithful to the original mono mix with slightly more separation, but the weak
manner in which the vocals and bass guitar were handled gave it an odd feel. In
this listener’s view, the original narrow stereo mix was clearly superior to
this remix, which sounded rushed and superficial.
·
I’ll Feel A Whole Lot Better (Track #2)- This
memorable, riveting Gene Clark rocker
that was influenced musically by the Searchers’ “Needles And Pins” (written by
Sonny Bono and Jack Nitzsche) and was
the nominal B-side of the group’s second single, opened up so effectively on
the original 1965 stereo mix, with the guitars possessing superb tone and
presence. Crosby’s solid Gretsch intro (LC) was answered deftly by McGuinn’s
shimmering Rickenbacker from the RC, right after which Clark’s impassioned lead
vocal, the pounding rhythm section, and tambourine entered in impressive fashion
from the left side. Not surprisingly, the original vinyl LP showcased this
track best, possessing an energetic, live feel; the Rickenbacker sounded superb
on the break, with a piercing quality, while the drums and bass had a
relentless, attacking characteristic. The box set still sounded very good,
coming quite close to the LP’s sound.
Early on, it became clear
that the Legacy was a remix from the sound of the guitars on the intro:
compared to the original mix, they were shelved down in tone and EQ. Crosby’s
Gretsch Tennessean opened up muted from the LC, while McGuinn’s Rickenbacker
from the RC had markedly less sparkle and sounded subdued. Another anomaly was
that the vocals were boosted on the Legacy.
Significantly, the bass and drums on the Legacy sounded somewhat
restrained compared to the original mix from both the vinyl LP and box set;
this difference was apparent during the break. Overall, the Legacy remix had a
sanitized, controlled aura to it, compared to the 1965 mix, which exuded a notably
more aggressive, spontaneous feel to it.
These observations were
fully confirmed by metering data, using the same input level for both the box
set disc and Legacy CD. Although the Legacy was mastered generally 2-3dB hotter
than the box set, the intro on it was a full 4dB lower in the LC, and 3dB down
in the RC- a telltale sign of a remix. Additionally, once the 12-string lead
entered (00:03) from the RC, the LC of the Legacy was still 2dB lower than the
original mix. The differential in level between both channels at this spot was
a sizeable 6dB for the remix (RC dominant), whereas the original mix had a much
lower 2dB variation. This corroborated the ‘sunken’ sound heard on the Legacy
at the track’s start. Furthermore, at about a half a minute into the song
(00:28), the Legacy recovered, to the extent where it was up 4dB in the
LC, +3dB in the RC compared to the box set disc. Finally, as the track ended,
the Legacy sported a hefty 4dB channel differential, in sharp contrast to the zero
dB reading for the original mix.
It was noteworthy that on
the highly touted mono album mix, which the Legacy remix seemed to have been
patterned after, Crosby’s opening Gretsch sounded muffled in tone-as if it had
been recorded in a swamp- and then became virtually inaudible. As well, McGuinn’s answering Rickenbacker, which
also sounded stifled, shifted towards
the background until the break and the song’s end, when it was shifted way
forward, center stage, finally emerging in its ringing glory. The mono mix
definitely emphasized the vocals and rhythm section (mid-bass and drums), along
with the tambourine, unfortunately at the expense of the guitars. Although its
tight focus was undeniable, the tradeoff was that the Byrds’ classic
jingle-jangle guitar sound was marginalized, and the ‘live’ aura of the
original stereo mix-which effectively showcased both guitars throughout
the entire song-was absent. Although the weak-sounding intro and suspect
mixing strategy of the monaural mix probably did not matter much on 1965 AM radio
as heard on mono car and transistor radios, it surely bore all the hallmark’s
of Terry Melcher’s mixing approach as developed over the previous two years.
·
Spanish Harlem Incident (Track #3)- This
song proved to be relatively challenging in detecting mix differences.
Nevertheless, it became apparent that the vocals, led by McGuinn’s lead, were
boosted on the Legacy, and the rhythm guitar with Chris Hillman’s Fender P-Bass
(Precision Bass) in the RC sounded louder, while the timbre of the Rickenbacker
from the LC sounded less trebly. These aural observations were confirmed by
charting the output levels of both channels from the box set and Legacy CD’s on
peak-reading meters. As expected, the Legacy disc was mastered hotter than that
from the box set- on average, +5dB in the LC, +2/+3dB in the RC. Despite
this, the Legacy surprisingly started 2-3dB lower in output level at the song’s
start.
Notably, at the onset of the
harmony vocals near the end of the first verse, the Legacy showed a sizeable
gain of +3dB in both channels. In contrast, the box set displayed no
such increase in output level, maintaining a virtually constant volume at this
spot and throughout almost the entire song. Another sign that the Legacy was a
remix: its average level differential between channels was only 1-2dB, whereas
the box set sported a wider 4dB range for the majority of the track.
As a corroborating side
note, the output levels of the Columbia and box set discs were compared. After
adjusting the record level setting to compensate for the Columbia’s lower
mastering level, it was found that the Columbia’s metered output levels were identical
to those of the box set disc: -4dB LC, 0dB RC, for the vast majority of the
song.
The original stereo mix, as
presented on the 1965 vinyl LP, featured a rhythm section that simply rocked,
as well as superb-sounding guitars and well-balanced vocals. It possessed a
warmth and strong low-end that surpassed that of the box set, while easily
outpacing the unimpressive mono mix. The latter predictably pushed the vocals
way out front, while inexplicably emphasizing the rhythm section at the expense
of the Rickenbacker. It was interesting to note that Hillman’s brief bass flub
(at the 1:19 spot) was less audible on the monaural mix, suggesting that some
doctoring had been done with it.
·
You Won’t Have To Cry (Track #4)- The
original stereo mix on vinyl showcased an effective dual guitar intro, with a
bit of reverb, featuring a sparkling Rickenbacker from the LC, while Crosby’s
Gretsch from the RC had a bright tone and good presence. Hillman’s solid Fender
P-Bass guitar and the tambourine were also located in the RC, while the drums
and vocals- with echo- were centered and in the LG, respectively; the vocals
rode on top of the mix. On the Legacy, the guitars on the intro were noticeably
less bright and sounded depressed in tone, while the vocals had a hollow sense
to them, devoid of any echo. Furthermore, Chris Hillman’s bass guitar was
boosted markedly, unlike the original mix.
The last observation was verified
by meter readings of the RC: whereas the original stereo mix had a nominal 3dB
gain from the guitar intro to when the vocals started at 00:07, the Legacy
registered a higher comparative gain of almost 5dB in the RC. The other
compelling indication that the Legacy was a remix was the output differential
between channels. The original stereo mix on both the vinyl LP and the Columbia
CD was consistently within 1-2dB, whereas on the Legacy it varied between even
(0dB differential) and a 3dB variation in spots.
It should be noted that the mono
mix of this track was excellent, with realistic balance between the
solid-sounding rhythm section, guitars, and vocals. Fortunately, there were no
questionable mixing decisions made here, nor any gimmicks- a refreshing change
from the mono mixes of the previous two tracks.
·
Here Without You (Track #5)- This excellent,
haunting ballad written by Gene Clark that was inexcusably left off the 1990
box set appeared in its original mix on the Gene Clark Echoes CD, and
along with the original vinyl LP, provided a good basis of comparison. The
original 1965 stereo mix presented a rich tapestry of sound, with Michael
Clarke’s solid drumming spread across the center area (LG- center- RG),
Hillman’s bass guitar generally centered, all effectively flanked by the
12-string electric lead (LC) and rhythm (RC) guitars.
It became apparent that the
Legacy version was a remix from the 3-track reduction master after listening
comparisons. There were several instances where a faint pumping sound could be
detected early in the song (00:23-00:25; 00:34-00:35) on headphones that was
not present on the original stereo mix. From the start of the second verse
onward, both the vocals and the rhythm section were boosted noticeably on the
Legacy, while the 12-string had a darker, lower tone. Whereas the original mix
maintained a fairly consistent volume level throughout, on the Legacy there
were conspicuous fluctuations at the start of the third and fourth verses, when
the overall volume dropped and then increased.
These impressions were fully
confirmed by meter chart data that was plotted over 22 points in the track,
with matched input levels. Whereas the Legacy started out with levels
equivalent to the original mix, from the second verse forward, its RC levels
were consistently 2-3dB hotter; the LC was generally closer (within 1-2dB
higher), except on the third verse, when they were elevated 2-3dB compared to
the 1965 mix. Corroborating the audible variations in loudness detected above,
the Legacy lost 1-2dB in output level at the start of the third verse, and a
significant amount (-3dB in the LC; -2dB RC) as the fourth verse began. Of
course these losses were quickly made up as each verse ramped back up in
volume. It should be noted that, in comparison, the vintage mix showed only a
minimal reduction in level at the beginning of the final verse (-1dB, LC).
Once again, the monaural mix
of this track sounded effective, with good balance between the guitars, rhythm
section, and vocals.
·
The Bells Of Rhymney (Track #6)-
Arguably the highlight from the album, aside from the title track, this song
exuded a sharp contrast between its dense, grave sound, the effective ride
cymbal work, and the ethereal harmonies as heard on the original stereo mix.
The striking, sustained sound of the Rickenbacker on the intro (RC) was quickly
answered by the dramatic, crashing impact of the bass, rhythm guitar, drums and
tambourine: the effect was truly stunning. Throughout the song, the deeper bass
frequencies from Hillman’s Fender came through strongly, giving it a darker,
almost medieval aura that was unmatched in pop music at that time.
During the track’s memorable
break on the vintage mix, the cascading 12-string electric guitar-played
effectively by McGuinn in a banjo style- surged forward in level, matched by
the riveting drums, bass, and rhythm guitar- a transcendent explosion of sound.
The song’s majestic ending had the thick, creamy-sounding Rick from the RC,
neatly complemented by Michael Clarke’s well-executed ride cymbal detail -quite
audible on the original stereo mix- with the group’s soaring harmony
vocals floating off into the stratosphere, a truly exhilarating performance!
Although this track proved
challenging to evaluate, it became apparent that it was remixed for the Legacy,
which failed to match the opening intensity of the intro heard on the 1965 mix;
it came reasonably close, but was not the same. This difference between mixes
became rather evident on the song’s dramatic break: there was a slight drop in
the volume of the band track at the break’s start, and more significantly, no
climactic surge on the Legacy as occurred on the 1965 mix. In other words, the
instruments essentially flat-lined in level on the Legacy.
Furthermore, whereas the
classic (1965) mix had the vocals trapped in the middle, clear and balanced
with the instruments, the Legacy remix had them mixed higher and louder, while
the rhythm guitar and bass were boosted slightly. Although the Legacy provided
more instrumental detail, and imparted more overall ‘air’ and ambience to the
sound, it lacked the dense, heavy complexion of the original mix. Ultimately,
the Legacy remix sounded different, and was missing that air of driven
desperation, ‘trapped in a dungeon’ feel that made the vintage mix so
memorable. Still, the Legacy represented a cleverly executed, quality remix
that remained faithful to the original mix.
The above observations were
fully supported by meter data, using equalized input levels to account for the
general +3dB hotter mastering level of the Legacy compared to that of the box
set. The Legacy’s output level in the LC was 2-4dB lower than the box set when
the bass guitar, rhythm guitar, and drums entered. Yet when the vocals dropped
in (00:07), the Legacy’s LC level ran 2-3dB higher. Whereas the 1965 mix
started the break (1:41) at the same 0dB output level as at the end of the 2nd
verse (1:35), the Legacy’s levels surprisingly were depressed to –2dB for both
channels at the break’s start.
Significantly, while the original mix (vinyl LP, box set disc, and even
Columbia) clearly showed a gain of +1dB for both channels during the peak of
the song’s break, the Legacy’s output levels remained static at the height of
the break. Further evidence that the Legacy was a remix came near the song’s
end (after 3:00) during the soaring harmony vocals, when its levels registered
peaks 2dB higher than that of the original mix.
It warrants pointing out
that the mono album mix of this great song was well done: the rhythm section
was solid and tight, the vocals in proportion, while the Rickenbacker really
shined. Nevertheless, this mono mix lacked the deep bass of the original stereo
mix and virtually buried Crosby’s Gretsch. In addition, while it had more
explosiveness on the break than the Legacy, the mono mix still did not match
the stereo mix in this area. In an interesting development, the song was
remixed with beefed-up, punchier bass than the original mono album mix, in
preparation for a British single release that was ultimately cancelled
(Sundazed LP set; remixed 8/16/1965, Legacy liner notes, 10). This fact lends
further support to my general view that the mono album mix had the deeper bass
frequencies rolled off, compared to the original stereo mix.
·
All I Really Want To Do (Track #7)- This
was by far the hardest track to decipher: it required the most listening time
and note taking, and had this listener going back and forth regarding its
status. In the final analysis, my determination that the Legacy version was a
remix was based on the observation that it had the vocals from the LG/LC- with McGuinn singing
lead- and the guitars from the RC, boosted. The Rickenbacker from the right
side audibly increased in volume after the rhythm section entered at 00:03 from
the LC: in careful meter observations, the RC was either even or within 1 dB of
the LC.
This stood in marked
contrast to the 1965 mix, where the RC consistently stayed -4dB lower in level
compared to the LC for the bulk of the song- there was never any level matching
between channels, nor did the 12-string increase in volume. These
characteristics were most apparent with the vinyl LP, but also manifested
itself on the box set disc. As far as the vocals were concerned, they were
elevated and louder on the Legacy, whereas on the original mix, they came
across as more balanced with the backing track.
Then there was the confusing
matter of the location of Hillman’s Fender P-Bass guitar. On the vinyl LP, the
bass fired out of the LC for virtually the entire song, except for a few
seconds in the mid-section (00:48-00:51) when it showed up in the RC, and for a
few instances when it seemed to pulse from the center. The box set had it
opening up in the LC, but contained more instances where the bass seemed to
come from the RC (00:48-00:51; 1:01; 1:10; 1:21 onward). The Legacy also had
the bass starting out from the LC, but then after the 00:20 point it shifted to
a combination of the RC and center-very puzzling indeed.
Another anomaly that was
most audible through headphones on the vinyl LP, box set, and the Columbia: a
wavering, wow and flutter tape flaw for two seconds near the track’s end
(1:59-2:00). One has to strain, with the volume turned up, to barely hear even
a slight hint of this on the Legacy (at 2:00); on the Blu-Spec disc, there is
absolutely no wavering.
It is worth noting that this was
the first song the group recorded at Columbia Recording Studios, Hollywood, CA,
in Studio A without any session musicians (3/8/1965). While competent, their
playing here lacked the confidence, polish, and intensity displayed in later
recording sessions (4/14/1965; 4/22/1965) for the album- after their
iconic concerts at Ciro’s Le Disc club in late-March, early April 1965.
Likewise, the recording differed instrumentally from later sessions, with
bleed-through of the Rickenbacker from the RC into the LC throughout the song,
probably a result of microphone
placement. Both the original stereo mix and the remix also had the
tambourine practically buried compared to the mono mixes.
It was interesting that the Byrds
did several takes of this song: one for the album (mixed for both mono and
stereo) and one for their ill-fated second single (Rogan 2012, 126; 1017; Hjort
2008, 26). As leading Byrds’ historian Johnny Rogan has pointed out, the
opening lyrics of the album version (“I ain’t lookin’ to compete with you”)
differed from that used on the single (“I don’t want to compete with you”;
ibid, 132). McGuinn’s lead vocal on the single version had a compelling,
affected tone to them, unlike the straightforward album version (as a side
note, Bob Dylan’s original song presented the lyrics as first listed
previously).
A close listening comparison
between the monaural album and single mixes revealed marked differences, and
fully supported Rogan’s and Christopher Hjort’s claims that they were based on
two different takes. The Blu-Spec disc proved invaluable in this regard (tracks
#7 and #14). Whereas the album version
had the bass mixed louder and the Rickenbacker masked in the background with a
somewhat weak, ‘smeared’ quality to it-after featuring it for the first five
seconds- the single version featured the 12-string much more prominently, with
reverb, while the drums rode higher in the mix, with the bass less audible.
Both mono mixes had the vocals way out front, along with the tambourine.
Further proof that there were in
fact two different takes recorded of this song: the mono album version had the
Rickenbacker outro starting at the 1:50 point, while the single version had it
starting at the 1:52 spot and clearly sporting a more trebly tone. Exactly when
the second, alternate take for the single version was recorded has been a
matter of conjecture: Hjort has maintained the ‘traditional’ date of 8 March
1965 (ibid), while Rogan has indicated that it was not recorded until over a
month later, on 14 April 1965 (ibid, 1017).
This writer fully agrees with
Rogan’s view that the single version was certainly much more effective and
appealing than the mono album version (ibid, 126; 132). The latter failed to
display effectively one of the Byrds’ trademark strengths: McGuinn’s
jingle-jangle 12-string guitar sound. These independent findings that there
were two different recorded takes of this song, one for the album and the other
for the single, effectively discredit the recent views posted by some at online
forums that there was only one recorded take used for both the album and
single. In other words, their theory was that the instrumental band track for
both versions was the same, with just different vocal takes for the album and
single (primarily: http://stevehoffman.tv/forums/
and http://www.rickresource.com/forum/
).
·
I Knew I’d Want You (Track #8)- As
the B-side to the “Mr. Tambourine Man” single, this overlooked ballad written
by Gene Clark was clearly remixed for the Legacy and also differed markedly
from the 1965 stereo mix. This became noticeable at the start, when the Legacy
opened up at a quieter output level, at a slower pace, and then gradually
increased in volume as the song progressed- much like the mono mix. The remix
came across as a lighter pop ballad, unlike the markedly heavier 1965 mix.
Sonically, the vocals -Clark sang the lead, while Crosby soared on top with
McGuinn’s harmonies in the middle- on the Legacy sounded louder, while the
instrumental band tracks were attenuated: notably, Leon Russell’s scratchy
electric piano and Larry Knechtel’s deep bass guitar from the LC, as well as
Hal Blaine’s ‘monster’ drums (RC). Curiously, the latter had a relatively
fuller sound on the monaural mix (single and album) than on the Legacy.
Conversely, the original
stereo mix opened up at full throttle, with the electric piano and bass sounding
much stronger, while Blaine’s centered/LG ‘monster’ drums were downright
powerful. Their majestic, resounding impact had a profound quality that
propelled the song forward, giving it a harder folk-rock edge. The Legacy remix
marginalized them by compressing them into the RC with the guitars.
Supporting these
observations are meter data for the start and end of the song, from the various
sources. The original stereo mix had a zero (0dB) difference between the output
levels at the track’s intro, prior to the vocals (00:09), whereas the Legacy
sported a substantial 4-6dB variance. Likewise, at the song’s end, the Legacy’s
degree of difference between channels was a hefty 6dB, while the original mix
was 0-2dB. To place these numbers in perspective, for the majority of the song,
both mixes registered channel variations between 0-2dB, making the Legacy’s
start/end numbers even more imbalanced.
It should be noted that this
moving Gene Clark tune was remixed twice before the 1996 Legacy remix. The
first remix was created by Jim
Dickson from the eight-track masters, appearing on the previously mentioned Never
Before archival collections (1987, vinyl LP; 1989, CD). Unfortunately, this
writer does not own that set and therefore cannot comment on the remix. Vic
Anesini then digitally remixed and remastered the track for the Gene Clark Echoes
disc (1991), following the highly influential singer-songwriter’s tragic and
premature passing.
Anesini’s remix also was
obviously derived from the 8-tracks, and
differed radically from both the 1965 mix and the later Legacy remix.
Starting off with a five count in by Hal Blaine, Anesini featured Jerry Cole’s
rhythm guitar prominently in the LC, essentially burying Leon Russell’s
electric piano from that channel. The most startling aspect of his remix was
once again minimizing both McGuinn’s pulsing 12-string guitar and Blaine’s
dominant drums from the RC. This is just speculation on my part, but perhaps
Anesini’s understandable intention here was to have the track sound as if Gene
Clark might have arranged it, or wanted it to come across, during his solo
career.
·
Don’t Doubt Yourself, Babe (Track #10)-
This was the easiest remix from the album to spot by virtue of its extended
length (2:54) compared to the original mix’s length (2:45; actual times). As a
result, the fade points were obviously different for each: about 2:32 for the
original mix, 2:43 for the Legacy remix. It was interesting to observe that the
Legacy remix’s length of 2:54 matched exactly that of the mono mix. As a side
note, the Blu-Spec CD presented this track in its remixed form, with the same
running time of 2:54 as the Legacy, which obviously was not the
“original album stereo version” as claimed in its liner notes (track #24).
Sonically, the Legacy remix
did not fully replicate the song’s dramatic intro as presented on the original
mix, where the crystalline sounding 12-string guitar opened up in the LC,
followed by Clarke’s boisterous drums, Hillman’s punchy Fender P-Bass, Crosby’s
solid rhythm guitar, and the tambourine from the RC, with the vocals coming
from the LC-LG (at 00:09). Another audible difference was that the vocals and
bass were boosted in the remix. Despite these sonic variations, the Legacy was
undoubtedly an effective remix. Manager Jim Dickson had wisely convinced the
group to cover this fine Jackie DeShannon tune, as a measure of gratitude for
her early, pivotal support of them (Unterberger, 2002, 137; Hjort, 2008, 31).
It bears noting that the
original stereo mix featured effective interplay between the bass guitar and
drums from the RC. While the Fender bass did indeed take the lead for most of
the song, sounding quite deep and powerful, the drums were increased in level
from the start of the outro onward, essentially matching the bass. Along with
the tambourine, which was loud but not overly so, this percussive combination
was both striking and distinctive, adding a different sonic flavor to this
incredible album. In addition, on the vinyl LP the guitars and vocals were vibrant
and well textured; McGuinn’s Rickenbacker had a nifty tremolo tone to it that
was also unique.
Nonetheless, it was puzzling
that on the mono album mix the drums were minimized severely, a mixing decision
that noticeably lessened the song’s impact, especially on the memorable outro.
Instead, notably the Rickenbacker, bass guitar, and the tambourine were placed
way out front on the mono mix, to the point where it sounded like a different
song: the Fender bass was dominant. Remarkably, during the outro of the mono
mix, the tambourine actually sounded louder than Clarke’s drums, which were
practically buried! This questionable mixing decision robbed the song of its
unique Bo Diddley feel, as presented on the superior vintage stereo mix- in
this writer’s opinion. This track served as yet another clear example where the
under valued original stereo album mix offered a better and more realistic
sonic depiction of the group, compared to the over-rated monaural mix.
Notes
Another great Dylan cover that was
also challenging to assess: “Chimes Of Freedom” (Track #11). The
clincher turned out to be comprehensive listening comparisons between the vinyl
LP, box set, and the Legacy CD. They turned out to sound virtually the same,
especially when listening through speakers: they had the similar low bass notes
and strong rhythm section anchored from the center, with reverb on the vocals
(McGuinn sang the lead vocal). It was striking to observe, after making level
adjustments, how close the peak levels of the LP and box set matched that of
the Legacy’s- within 1-2 dB on the vocal surges, otherwise a perfect match on
the 12-string guitar intro (LC). Significantly, all sources had a nominal
channel differential of 0dB: the ultimate corroboration.
Undeniably, the Legacy offered
additional detail on the bass guitar, although it lacked the warmth of the
vinyl LP. While the box set came close to the Legacy, it could not quite match
the finer articulation heard on the Legacy, due to the latter’s being mastered
from a better source tape and use of superior analog-to-digital conversion
technology. Contrary to online claims, this listener heard no indication that
any liberties had been taken with the track on the Legacy disc.
Whereas the original stereo mix as
presented on the above-named sources sounded like a full band playing in the
studio, with McGuinn’s lead vocal and the harmony vocals in balanced proportion
to the instruments, the same could not be said of the monaural mix. It opened
up with the Rickenbacker sounding thin, subdued, and reedy-almost as if it was
coming from a transistor radio-while the vocals were jacked up and the low end
clipped. The overall effect was as if McGuinn was singing with a backup band
behind him, as opposed to the unified approach of the stereo mix where he was
singing within a group. The Rickenbacker clearly had a superior tone and
presence on the stereo mix, while the rhythm section was deep and strong.
Finally, a discussion is warranted
concerning the underrated original
stereo mix of this great, timeless album, a mix that in this writer’s view has
been unfairly disparaged. As an example of this negative view, John Nork, in
his interview with Roger McGuinn,
“…always wondered why with those first few albums, the stereo sounded
worse than the mono.” (http://www.analogplanet.com/content/roger-mcguinn-speaks-john-norkpart-1-0
). Likewise, noted music authority Michael Fremer (of Stereophile magazine
and www.analogplanet.com ) has
claimed that
“The interesting thing about Mr.
Tambourine Man in mono is that you get to hear more of what’s going
on in the mix. You’ll hear the harmonies better, McGuinn’s 12-string
will hit your ears with more force and greater ‘jangle’ in mono.” ( http://www.analogplanet.com/content/sundazed-and-mobile-fidelity-make-case-mono-0
).
Having
studiously compared the original stereo and mono mixes from this great album, this writer must
respectfully disagree with Fremer’s questionable assessment. Curiously, Fremer
singled out the mono album mixes of three songs (“I’ll Feel A Whole Lot
Better,” “Don’t Doubt Yourself, Babe,” and “Chimes Of Freedom”) as showcasing
the jingle-jangle sound of McGuinn’s Rickenbacker. In this writer’s opinion,
they were three of the weakest mono mixes from the album, while the first song
listed was the worst at featuring the jingle-jangle sound of the 12-string. As
has been discussed in detail, the original stereo mix of “I’ll Feel A Whole Lot
Better,” as presented on 1A vinyl and the box set (and even the Columbia CD),
was vastly superior in revealing the articulation and tone of both
guitars- the 12-string lead and Crosby’s Gretsch-for the entire
song. The strange mono mix, which made both guitars sound muddy and actually obscured
the 12-string for most of the song, was patently inferior.
As
well, the Rickenbacker’s sound on “Chimes Of Freedom” was thin and reedy during
the mono mix, unlike its clear, full-textured presentation on the stereo mix.
In addition, on the monaural mix of “Spanish Harlem Incident,” the 12-string’s
sound was marginalized by the boosted rhythm section and the overly loud
vocals. These were all highly questionable mixing decisions that minimized the
Byrds’ musical strengths and undermined the sound quality of the tracks, in
this writer’s view.
Furthermore,
Fremer’s statement that the tambourine from the mono mix was “…pushed well
forward on many tracks…” was true, but he conveniently ignored the epitome of
such a questionable mixing strategy as heard on “Don’t Doubt Yourself, Babe.”
(ibid). When the tambourine was mixed louder than Clarke’s frenetic drums on
the monaural mix of this track (!!), one could logically advance two theories
for this ludicrousness: either Terry Melcher and the accompanying mixing
engineer were being too ‘clever by half’ here, or they were intent on burying
Clarke’s manic drumming. Fortunately, both the original stereo mix and the
remix presented this song as most Byrds’ fans have treasured it over the years-
memorable and unique to the album.
Additionally,
other so-called virtues of the mono mix zealously trumpeted by Fremer- the
vocal harmonies and the “… bass line and kick drum… presented in greater
relief…”- were in fact sometimes overdone in the case of the former, at the
expense of the instrumentation (ibid). As has just been pointed out, the drums
were a virtual non-factor in “Don’t Doubt Yourself, Babe,” while otherwise, the
deeper bass frequencies were filtered out on the mono mixes of many tracks. How
else does one explain the fact that “The Bells Of Rhymney” and “Chimes Of
Freedom” had to be remixed with deeper bass levels for a cancelled British
single? The obvious answer was that they were rolled off on the over-rated
original monaural mix, unlike the fuller-bodied, under-valued original stereo
mixes.
Nork’s
and Fremer’s comments touting the quality of the monaural mixes certainly had
validity for the succeeding albums- particularly Turn!Turn!Turn! and Younger
Than Yesterday. Those albums likely
did not have a ‘cutting master’ used and thus had to be severely equalized and
compressed on the front end for vinyl LP production with the two-track stereo
mixdown master, with less deep bass output as a result of the bass filter
engaged. However, their views were extremely questionable concerning the Mr.
Tambourine Man stereo album. The latter in all likelihood had a
‘cutting master’ prepared for vinyl production, which meant that consumer vinyl
playback could be optimized through the RIAA equalization curve- standardized
in 1965 by the National Association of Broadcasters- and with the proper hi-fidelity
gear (granted, a few years away in terms of affordability for the average
consumer). It also meant that the album’s two-track stereo mixdown master tape
did not have to be compromised with equalization that would have rolled off the
low bass frequencies and attenuated the highs, as was the case with its
successors.
Undoubtedly, the focus of record
producers and mixing engineers throughout most of the 60’s was understandably
the monaural mixes. The pop music
industry then was built around hit mono 45 singles played on AM pop radio
stations, listened to by the public on tiny transistor radios, clock radios,
mono car radios, or low-fidelity, pseudo home stereo systems. Many stereo mixes
from this era were done quickly, often with the instruments panned hard to one
channel, with the vocals split to the other, and nothing in the center. Quite
often, the record producer who had supervised the original studio recordings
(multi-track masters) and the group/artist were not involved in the preparation
of the stereo mixes during this era. As
a result, they were generally inferior to their monaural counterparts.
Nevertheless, the 1965 stereo mix
of this album- unlike its stereo successors- displayed excellent sound.
It possessed relatively deeper bass, a fuller-bodied texture, as well as
audibly higher frequencies- upper percussive instruments such as the tambourine
as well as the ride cymbal, crash cymbal, and hi-hat from the drums. The
separation of instruments between channels was noticeable, and the resulting
soundstage was reasonably realistic, especially when judged by 1965 standards.
It is this writer’s contention that the stereo mix of this landmark album was
advanced for its time, and vastly superior compared to many contemporary stereo
mixes- it clearly was not a throwaway rush job. As noted pop music
writer Domenic Priore observed, the Mr. Tambourine Man album was “… an
effort to replicate the sound heard live at Ciro’s LeDisc.” (2007, 78).
In this listener’s view, the
original stereo album mix provided a relatively better, more realistic
representation of the group’s mythical live shows at the aforementioned
Hollywood club during late March-April 1965 than the calculated, occasionally
‘canned’ sounding mono album mix. Undoubtedly, that mix was carefully crafted
by Producer Terry Melcher and a mixing engineer of his choice- Columbia Records
operated a union studio at that time, much to the Byrds’ chagrin- and
deliberately featured the group’s standout vocals, McGuinn’s 12-string electric
lead, the upper percussive detail of the drums, and the middle frequencies of
the bass guitar, along with the tambourine. The monaural mixes were focused and
bright, and- with several exceptions previously noted- generally were
effective.
One of the best mono mixes
on this album was the closer, “We’ll Meet Again” (Track #12), which possessed a
solid low end, a good bass guitar level, excellent articulation and tone with
the guitars, and overall effective balance between the instruments and vocals.
When listening to the monaural mix of this track after hearing the original
stereo mixes of other songs from the album, it fit right in and held its own
sonically, and was superior to its stereo counterpart.
Nevertheless, as has been
discussed, a number of other tracks from the mono album did have their sonic
deficiencies: the lower bass output was rolled off, the vocals and tambourine
rode excessively high and loud in the mix, and Crosby’s Gretsch sometimes was
buried. Even worse, the level of the 12-string lead guitar was minimized and
manipulated in several cases. Still, one can argue that considering the care
and attention given to the preparation of the mono mixes, as well as the state
of listening equipment from that era, they were the definitive studio release and
artifact.
Nonetheless, as this writer
has contended, the original stereo mixes from this album offered a panoramic
sonic vista, with much better, consistent articulation of both guitars while
also having a deeper low end. They had a natural live band feel, devoid of
studio mixing gimmicks, and still hold up well today- 49 years later! The
stereo mix was relatively straightforward, with no punches pulled; it was
authentic and merits serious consideration- not knee-jerk dismissal. Whichever
Columbia mixing engineer handled this album’s stereo mix must have had a
reasonable understanding of a realistic stereo soundstage for that time, and
may have had knowledge, direct or indirect, of the Byrds’ shows at Ciro’s
LeDisc. The 1A stereo pressing of this album was mastered hot with a realistic
mix and rocked!
In the final analysis, just
because more time and attention was devoted to the monaural mixes did not
necessarily ensure that they were sonically superior to their stereo
counterparts- far from it. Nor did it give license to ignoring and dismissing
out of hand the original stereo mix of the Mr. Tambourine Man album. As
well, one can confidently assume that this album’s original producer, Terry
Melcher, played absolutely no role in the preparation of this album’s stereo
mixes. For one, standard industry practice at this time was to have them
prepared separately by a different mixing engineer; the producer was usually
not involved during this time. As has been noted, the priority then was the
monaural mixes. Furthermore, as Roger McGuinn recalled, “ Melcher didn’t
believe in stereo.” (http://www.analogplanet.com/content/roger-mcguinn-speaks-john-norkpart-1-0).
No comments:
Post a Comment