http://www.stevehoffman.tv/forums/showt ... ost3321420
The story of George
Harrison insisting that The White Album be remastered in not a myth. On page
118 of my book "The Beatles on Apple Records," I discuss the incident.
George Harrison, along with Mal Evans, was in Los Angeles to produce Jackie
Lomax's upcoming Apple album. He dropped by the Capitol Tower to hear the
White Album. He had left London for LA prior to the banding session during
which the order of the songs was selected for The White Album, and wanted to
hear the finished product. He did not like what he heard and insisted that
he be allowed to work with Capitol's engineers to remaster the album.
This story is told by Mal Evans in an issue of The Beatles Book (the
official Beatles Fan Club monthly publication) in which he states that
Capitol's engineers had "done all sorts of technical things to it that
altered half the effects." As was often the practice at the time, Capitols
engineers had run the sound through a limiter and compressed the volume
range of the recording by cutting back the high volume peaks and bringing up
the low passages. This would have been particularly noticeable on "Helter
Skelter," a loud rocker with a fake fade-out ending, and Harrison's "Long,
Long, Long," which has quiet passages throughout and loud distortion at the
Ken Mansfield, who was a Capitol A&R man given the job of being Apple's
first U.S. manager, confirms Harrison's remastering of the album in his
latest book, "The White Book."
There is also physical evidence of the separate mastering. Capitol
originally mastered 33 sets of lacquers for the album. Because of Harrison's
insistence that the album be remastered, all 33 sets were ordered to be
destroyed. That is why first pressings of the album start with numbers like
A34, B35, A 36 and A37 in their trail off areas. You also see that copies
were cut on the H/I lathe at the Tower as evidenced by numbers such as J40,
J41, etc. up through J66. Later LA pressings have H70 and H74. Winchester
originally had A70 and A71. Later lacquers were cut for Winchester in New
York with numbers such as W5, X6, W7 and X8 and F72 and F77.
All of this is detailed in my book "The Beatles on Apple Records" on page
118. At the time I wrote the book, I stated that there were no numbers below
A34 cut at the Tower because all of these lacquers were destroyed. A few
years ago, someone had me examine a White Album with A28, B29, A28 and B29
for sides one through four. This showed that not all lacquers were
destroyed. These discs sound slightly different that the White Album we all
know and love. It is not a dramatic difference because the lacquers were cut
from the same master tape. We did a digital wave comparison of the discs
with A28 & B29 to a standard White Album. The difference is clearly visible.
You can see the compression on the original Capitol master. The digital wave
comparison appears on page 270 of my latest book, "The Beatles Swan Song:
"She Loves You" and Other Records." In addition, a lacquer of side one of
The White Album has recently turned up that further confirms Harrison's
remastering. The lacquer was cut at Sound Recorders Studio, 6226 Yucca,
Hollywood, CA, which is just around the corner from the Capitol Tower. An
image of the lacquer is in my Swan book, also on page 270. This is one of
the lacquers cut under Harrison's supervision. Ken Mansfield confirms that
Harrison went to that studio for the initial remastering. Obviously, the
lacquers used to cut the album were done at the Tower, as evidenced by the A
and B lathe numbers.
I hope that this proves for once and for all that the Harrison remaster
story is not a myth, but is in fact true. I also hope those who have not
bought my books do so. No matter how much you think you know about the
Beatles records, you will learn more if you read my books.