HDTenEightyP/NetNews huggingface dataset:
From: jcsmith@eos.ncsu.edu (Jay C. Smith)
Subject: Stereo (was Re: Patrick Dubbrow)
Organization: North Carolina State University, Project Eos
Date: Fri, 24 Jul 1992 17:56:53 GMT

In article <MePLWbq00awA4AGUd7@andrew.cmu.edu> bl2m+@andrew.cmu.edu 
(Benjamin D. Lukoff) writes:
>Also....in an aside note, I checked with the recording engineers here at
>Carnegie Mellon Recording Studios and they informed me that two-track is
>indeed stereo if it is mixed stereo....that is, stereo is anything with
>a discreet left and right channel. So if the music is panned far right
>and the vocals panned far left, that is stereo, not two-track

So if I have a two-track tape recorder and decide to put the mono soundtrack
of a film on one track and comments from the director on the other track, then 
what I have is a stereo recording if I decide to mix the two tracks to left 
and right?  I think not.

I think that most would agree that "stereo" as in stereophonic is not
equivalent to what one might call duophonic (and please ignore any such
terms that record companies may have come up with for the purposes of
this discussion), which I would define as simply being two discrete
sound sources.

"Stereo" very much implies a recreation of a three-dimensional aural
space.  This is frequently done with only two channels, much in the way
that a stereoscopic viewer uses two images to create a "stereo" visual
image.  The stereo effect may be artificially created through the mixing
of two or more essentially mono tracks into a three-dimensional field.

Any use of the typical two-track stereo release that in no way attempts
to create a 3-D aural space cannot really be called stereo.  This includes
creation of "fake stereo" by using filtering and delays on mono sources,
and it also includes discrete channels mixed to either left or right
with nothing in the middle.  It would make no more sense than looking in
a stereoscopic viewer that had Paul and Ringo as the left image and John
and George as the right image.  Would anyone claim that that would make
a stereo visual image?

I know that aural sensory perception is quite different from visual
perception, so forgive me the imperfect analogy here.  I simply wish to
make the point that I think the consulted recording engineers have
completely lost sight of what "stereo" means in terms of perception.
Their reply is typical of the automatic response that "one track means
mono" and "two tracks mean stereo."  And that simply is not true.

--
Jay C. Smith
Domain/internet: jcsmith@eos.ncsu.edu  uucp: ...!mcnc!ncsuvx!eos!jcsmith
------------------------------------------------------------------------
"Good.  For a minute I thought we were in trouble."
Newsgroups: rec.music.beatles
From: mcodogno@nyx.cs.du.edu (Maurizio  Codogno)
Subject: Re: Her Majesty
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Wed, 22 Jul 92 15:49:48 GMT

In article <1992Jul22.094346.5374@mr.med.ge.com> hinz@bonfire (David Hinz Mfg 4-6987) writes:
>Since I first bought my first copy of Abbey Road, so long ago it seems,
>something has puzzled me.  At the end of I want you/She's so heavy, the sound
>cuts out VERY abruptly.  The same thing on side 2 with Her Majesty.  I've heard
>a bootleg of what seems to be the same take of HM with the final chord, it sounds
>OK.  Why is it cut off on the album?
 
well, I do not know too much about the abrupt termination of IWY(SSH),
apart from the fact that the very first edition should have a regular 
fadeout (I think); for HM, The Book says that in the first lineup
of side B it should have been put between Mean Mr Mustard and 
Polythene Pam. A first rough mix was done, and Paul agreed that it
did not fit. So it was cut out, tohear the new effect. It was indeed
better, Paul agreed. They continued hearing till The End, and then
after the famous 18 seconds HM started. The sound technician said he
did not want to lose the tape and put it after a blank one. Paul
immediately liked the effect and the song remainedas a post scriptum,
with that rough cut (the first electric chord from MMM and the 
final D missing).
ciao! .mau.

Newsgroups: rec.music.beatles
From: galuska@oz.asel.udel.edu (Scott Galuska)
Subject: Alex Chilton & "I Want To Hold Your Hand"
Organization: AI duPont Institute
Date: Thu, 23 Jul 1992 17:15:01 GMT


Over the weekend, I heard Alex Chilton have a go of "I Want To Hold Your Hand"
on the local Beatles program- I wouldn't describe his as a great version,
but it was rather interesting anyway.

Question- from what album/single recording was that taken from?  Anyone know?

-- 
Scott Galuska
Dept. of Computer & Info. Science        "There's no crying in baseball!"
Univ of Delaware
galuska@asel.udel.edu
Newsgroups: rec.music.beatles
From: dmaclaug@agsm.ucla.edu (saki)
Subject: Re: Re: Beatles 101
Summary: Who's out there?
Organization: UCLA, Anderson Graduate School Of Management
Date: 27 Jul 92 17:58:39 PDT

In article <740032@hpwrce.mayfield.hp.com> dennis@hpwrce.mayfield.hp.com (Dennis Alstrand) writes:
>There is one intimidation factor.  I've posted a number of items over
>the past year and don't think I've ever seen a response.  It may well
>be that my entries are of little interest to the rmb audience and have
>resigned myself back to just 'reading'.

I know it takes some doing, but you can successfully train yourself to
believe that responses are being made...mentally, albeit enthusiastically,
rather than on the net. For some reason r.m.b. has always had that
peculiarity. I know some newsgroups are quite different---full of
one-line responses that get a little wearying over time as they
grow with multiple attributions. We're just not like that over here. :-)

There's an analogy in the radio business, which still holds for our
esteemed newsgroup. DJs used to have a saying that for every one call-in
from a listener, requesting a song or dedication (back in the sixties
when neighborhood pop stations were really dedicated to serving the
audience), there were at least 100 other fans who'd never gather the
courage to do the same...but they were there, listening faithfully.
You might try that for comfort.

This equation does not hold true for flames, BTW. :-)

--
"Modern music is, however, the groups' delight, and as if to prove the
point, John and Paul have written over 50 tunes, ballads & faster
numbers, during the last three years!"_________________________________
                                        saki (dmaclaug@agsm.ucla.edu)
Organization: Carnegie Mellon, Pittsburgh, PA
From: CS19240760T@LUST2.LATROBE.EDU.AU (VURGUN, SINAN)
Newsgroups: rec.music.beatles
Subject: Let it be
Date: 29 Jul 92 05:28:23 GMT
Organization: La Trobe University
X-News-Reader: VMS NEWS 1.22

I recently bought a box set of all the Beatles albums ever released.
I always thought that abbey raoad was the last album they released, 
but much to my suprise they had Let it be as the last album to be
released . could somebody please tell me what happened. 
			sinan
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.beatles
Subject: Re: Hey Jude
Date: 31 Jul 92 17:25:29 GMT
	<1992Jul29.045343.1773@menudo.uh.edu>
	<1992Jul30.153131.2117@dartvax.dartmouth.edu>
	<1992Jul30.174426.18165@menudo.uh.edu>
	<1992Jul30.213852.22624@dartvax.dartmouth.edu>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: pilsner.bbn.com
In-reply-to: David.T.Greenfield@dartmouth.edu's message of 30 Jul 92 21:38:52 GMT


   Now I'm not trying to be holier than thou, because I have indulged in
   some peeking myself.  My point is can we really say that bootlegs are
   any better and therefore more acceptable than the pirates or
   counterfeits?  I don't think so




People *only* buy bootlegs because they provide access to historically
significant [*] material that cannot be heard any other way. If EMI
released the songs on URT, nobody would buy URT. That's the
difference: counterfeited material is available legitimately,
bootlegged material is not. This seems like a crucial distinction to
me.

rs


[*] Of course not all bootlegs present "historically significant"
tracks. But most pre-Let It Be Beatle boots do.
From: ralley@function.mps.ohio-state.edu (Thomas G Ralley)
Newsgroups: rec.music.beatles
Subject: Re: Yoko Background Vocals
Date: 28 Jul 1992 13:34:29 -0400
Organization: Department of Mathematics, The Ohio State University
NNTP-Posting-Host: function.mps.ohio-state.edu

In article <1992Jul28.144910.24445@udel.edu> galuska@oz.asel.udel.edu (Scott Galuska) writes:

>Yoko is not on "Across The Universe" ('twas a couple of girls who hung out
>outside of Abbey Road (or was it Apple) studios). 
Gryleen Pease and Lizzie Bravo, who were 16 and 17 respectively at the time.
There's no mention of payment. I wonder if they got union wages for their
work...:)

David Ralley

-- 
One weighs the value of rules           |David Ralley
by letting them occasionally suffer     |ralley@function.mps.ohio-state.edu
an exception -- Richard Wagner          |sometimes you gotta break the rules
@#$%^&*()!@#$%^&*()!@#$%^&*()!@#$%^&*()!@#$%^&*()!@#$%%^&*Burger King &**&^^
Newsgroups: rec.music.beatles
From: Stein H}kon Lygre <lygre@edb.uib.no>
Subject: Re: The worst Beatles compilations? (was: Re: The Old Mixmaster)
Organization: University of Bergen
X-Useragent: Nuntius v1.1
Date: Thu, 30 Jul 92 08:49:01 GMT



In article <1992Jul30.013726.21245@menudo.uh.edu> edward s. chen,
edc@evolution.bchs.uh.edu writes:
>You Know My Name (Look Up the Number) - stereo

Is there realy an available stero version of this song, or have I missed
something?

======================================================================
    Stein Hakon Lygre,            E-mail: lygre@edb.uib.no
Newsgroups: rec.music.beatles
From: edc@evolution.bchs.uh.edu (edward s. chen)
Subject: Re: KLAATU
Organization: Little to none, or maybe not......
Date: Mon, 27 Jul 1992 02:56:21 GMT

In article <1683010CF9.UCPL040@UNLVM.UNL.EDU> UCPL040@UNLVM.UNL.EDU writes:
>KLAATU was a four piece band from Canada that produced four albums
>on the Capitol label back in the late 1970s (one in 1980).  There
>was a rumor that this band was the reformation of the Beatles.
>Personally, I don't beleive this, even though there are a couple
>of KLAATU's songs that have some close similarities.  Apparently
>the band broke up in 1980 and has never produced anything else,
>either together or individualy.
>
>If anyone out there has any information on the band, needs any
>information on them, or enjoys their music as much as I do
>(there are very few of us left), post here or, better yet, E-mail me.

Going back to Mr. Schaffner's _The Beatles Forever_:

"Steve Smith of the Providence Journal sparked a minor hoax of the
Paul-is-dead variety when he reviewed this (Klaatu) album in January;
pointing out that no musical credits were given except Klaatu, that
there were no photographs of the group, and that the music was unmistakebly
Beatlesque, Smith concluded that the mysterious Capitol album might be
a secret reunion of the Fab Four.  He cited various "clues", cross-references
to Beatle records such as Magical Mystery Tour, in support of his thesis.

These may exist, as Klaatu, whoever they were, had obviously set out to
imitate the Beatles late sixties music; as far as that goes, they did an
exemplary job.  But it ain't the Beatles, as anyone truly familar with their
voices could tell you after three seconds of close listening.  Anyway, 
lyrically, the Beatles would never have served up such extra-terrestrial pap 
as "Anus of Uranus", and "Calling Occupants of Interplanetary Craft."

Nonetheless, Capitol kept dealers well supplied with copies of Smith's 
article, while keeping Klaatu's identity a corporate secret.  (It has since
been revealed that Klaatu actually consisted of Canadian studio musicians).

<ESC>
-- 
..You either kiss the future or the past goodbye...
                          -- Ringo Starr (written by O'Deherty / Velez)

                                
Newsgroups: rec.music.beatles
From: hinz@bonfire (David Hinz Mfg 4-6987)
Subject: Re: Maxwell's Silver Hammer
Organization: GE Medical Systems, Magnetic Resonance
X-Newsreader: Tin 1.1 PL4
Date: Fri, 31 Jul 92 10:01:22 GMT

s1082919@giaec.cc.monash.edu.au (T Hankinson is YODA) writes:
: >:
: >I've always thought that John was doing something silly to try to shake Paul,
: >acting it out or something.  Same with Rocky Racoon, where he 'proceeded to
: >lie on the table', and Paul is barely under control.  I think it adds to
: >the songs, however, it shows that they were having a good time.
: >
: 
:      Well in one of my Beatles books, it says that John disliked Maxwell
:      Silver Hammer so your probably right about John trying to shake Paul.
:      I was born the 20.4.74 so how do I rate on the youngest RMBer
: 
I have a tape of John & George referring to this song as "the corny one", as in
"Let's do, y'know, the CORNY one".....quite funny, really.  I wonder if it
was staged (Let it Be???), or for real?  The humor reminded me alot of HELP.


--

Dave Hinz  -  Opinions expressed are mine, not my employer's.  Obviously.
Pherrets are Phun!! 
SAAB - Because you get what you pay for.
hinz@picard.med.ge.com


From: dennis@hpwrce.mayfield.hp.com (Dennis Alstrand)
Date: Fri, 24 Jul 1992 21:20:30 GMT
Subject: Beatles' record impact on you?
Organization: the HP Mtn.View Resp. Cntr.
Newsgroups: rec.music.beatles


Greetings fellow rmbers,

My cousins were visiting that evening and I was standing in the bathroom
washing up when my Aunt Mabel came down the hall and called her daughter.
There was a definate sense of immediacy in her voice like something big 
was going to happen.  Little did I know HOW BIG!

"Laurie, the Beatles are on TV" were the words I'll always remember.  I
thought 'The Beatles?  Who the heck are they?  I guess I'll go watch, too."

Now, I really don't know if it was the first, second or whatever appearance
they made on Ed Sullivan that I watched, but it was one of those first ones.
John introduced one of the songs and I didn't really care for his accent
at that time.  But, I kind of liked the music.

I don't recall what happened in the short time after that but, like everyone
else in the universe, I became as infatuated a fan as is possible.  The memoriesare incredible.  Hearing a new Beatles song on the radio for the first time
was always a spine-tingler.  Everyone else's music couldn't touch it, right?

Mark Lewison wasn't, of course, the only one trying to hold that Sgt. Peppers
moustache in his nose, and I'll never forget how wild the whole look and
feel of that album was.  I really thought it must be their last album, and
thought of trivial bullshit like "they counted off their next to last song
(Sgt. Peppers reprise) of their last  album and counted off the second song on 
their first album (well it was for us, I Saw Her Standing There on Meet The 
Beatles - it wasn't until the seventies that I started buying the British im-   ports).

But, the record that impacted me the most must have been the Hello Goodbye/
I Am The Walrus 45.  Although now, I think their best single is Penny Lane/
Strawberry Fields Forever, that single really 'blew my mind'.  That's the
only way I can describe it.  We were all trying to pick it up on our little
transistor radios and then, in between a bunch of pop b.s., those opening
chords to I Am The Walrus would start hypnotizing.  Then the bass and drums
came in like the air strike of a blitzkreig (apologies to Eastern Europeans)
There was no escape!  Later, when it was placed on the MMT album, I felt
it lost a lot of it's impact, just as I thought Lady Madonna lost impact
hearing it on the Hey Jude album.  Those are *singles* to be heard on 45s
and radio.           


Here's something I'm curious about regarding the rmb gang.  What song or
record by the Beatles most impacted you when it came out.  I would imagine
Please Please Me in the UK and I Wanna Hold Your Hand in the US would
probably be at the top, but would like to hear from fellow fans on this.

Dennis Alstrand
HP - Response Center
From: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Newsgroups: rec.music.beatles
Subject: Re: Analog Beatles
Date: 24 Jul 92 20:22:01 GMT
Reply-To: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Organization: Columbia University

In article <7119987467177@c00015-118dan.eos.ncsu.edu>
jcsmith@eos.ncsu.edu (Jay C. Smith) writes:

>I distinctly remember a possibly apocryphal story of how George Harrison
>heard Capitol's mix of The Beatles (the white album) while he was visiting
>the US before its release.  He thought Capitol had really mucked it up,
>and aided in remixing performed at the last minute by Capitol.

I remember reading that one too.  No way did Capitol have the original
masters, but then what does this mean?  I'm willing to believe George
used the term mix very loosely.

It is sad but true that the Capitol LPs as released sound much worse
than the Parlophone LPs.  The bass is almost missing and the whole
sound is muffled.  The problem probably was the 25-minute sides.
Evidently Capitol simplified cutting the master LPs by reducing the
amount of side-to-side travel the stylus would take, mainly by
reducing the wide swings caused by bass guitar sound.  The proper
solution is to vary the distance between grooves at different points
(put them closer together at quiet parts so you get in the full 25
minutes), but if you don't give a $#!+ about sound quality, why bother?
Just cut out some of the sound!

Capitol's "Abbey Road" has the same problem.  

The scary thing is imagining it might have been even worse before
George sat down with them!

--Joe Brennan
From: bl2m+@andrew.cmu.edu (Benjamin D. Lukoff)
Newsgroups: rec.music.beatles
Subject: Patrick Dubbrow
Date: 22 Jul 92 15:03:03 GMT
Organization: Carnegie Mellon, Pittsburgh, PA

Patrick Dubbrow wanted me to post this for him because he only has
read-only access to the bulletin board.

>Would you be so kind to tell me if Mobile Fidelity Sound Lab (MFSL)
also >released "Please Please Me" or other Beatles records in stereo on
CD? It's >very sad that any of the early Beatles records on CD that I
see in >Germany are in mono.

Also....in an aside note, I checked with the recording engineers here at
Carnegie Mellon Recording Studios and they informed me that two-track is
indeed stereo if it is mixed stereo....that is, stereo is anything with
a discreet left and right channel. So if the music is panned far right
and the vocals panned far left, that is stereo, not two-track

Ben Lukoff
From: shroymp@wkuvx1.bitnet (Mike Shroyer )
Newsgroups: rec.music.beatles
Subject: Re: Let it be
Date: 30 Jul 92 20:53:55 CDT
Organization: Western Kentucky University, Bowling Green, KY

In article <712428302@macbeth.cs.duke.edu>, kirk@cs.duke.edu (Scooter Corleone) writes:
> In article <1992Jul29.052823.23923@lugb.latrobe.edu.au> CS19240760T@LUST2.LATROBE.EDU.AU (VURGUN, SINAN) writes:
>>I recently bought a box set of all the Beatles albums ever released.
>>I always thought that abbey raoad was the last album they released, 
>>but much to my suprise they had Let it be as the last album to be
>>released . could somebody please tell me what happened. 
>>			sinan
> 
> ABBEY ROAD was released in 1969, and LET IT BE was released in 1970.
> That's what happened.
> 
> 
> No worries,
> 
> Scooter Corleone
> 
> English Major Without Portfolio

Abbey road was the last album recorded but Let it Be was the last
album released.

Mike
-- 
******************************************************************************
*  Mike Shroyer                     What's the difference between Greeks     *
*  Western Kentucky University       who all dress alike and non-conformists *
*  shroymp@wkuvx1.bitnet             who all dress alike                     *
*  shroyer@wku.edu                                                           *
*                                                                            *
*    HELP SUPPORT YOUR LOCAL BANDS ... GO TO THE SHOWS AND BUY THE ALBUMS    *
*                                                                            *
******************************************************************************
Newsgroups: rec.music.beatles
From: michals@fuw.edu.pl (Michal Szleper)
Subject: Revolution 9
Keywords: Take this brother, may it serve you well.
Organization: Warsaw University Physics Dept.
Distribution: rec.music.beatles
Date: Fri, 31 Jul 1992 08:27:07 GMT

Hi everybody,

This is my first posting in this group, though I've been
reading it for some time now.

Could anyone enlighten me in the following subject:
I've never really understood the meaning of "Revolution 9"
held on the White Album.  Did John want to say anything
specific with it?  How do you understand this strange
quasi-musical composition?  Any ideas?

Cheers,

   Michal
        ^---  'l' with '/'
From: Christian Ullsperger <ullsperg@enz.berk.edu>
Newsgroups: rec.music.dylan
Subject: Re: "Rare & Unreleased: Vol. 4-7"
Date: 22 Jul 1992 21:10:00 GMT
Organization: UC-Berkeley, Dept. of Molecular and Cell Biology
Distribution: world
     <44dm4-g.michel@netcom.com> <1992Jul22.131403.4228@riacs.edu>
NNTP-Posting-Host: gpb1mac2.berkeley.edu
X-UserAgent: Nuntius v1.1a2

><I have it on very good authority that there _will be no more_ bootleg
series 
>from Dylan. The fact that the first series was chronological is
certainly an 
>indication that they never even planned any more, otherwise they would
have put 
>it together more logically. Don't get your hopes up.


I think Steve is giving Columbia records a lot more credit than they
deserve. I doubt they put a whole hell of a lot of time into planning
what exactly they would release and wouldn't release from their vaults,
much less in what order. I certainly think that what has been issued so
far in the series is just a fraction of what Columbia is sitting on. I'm
certain that within the next twenty years, and certainly after Dylan's
death, a lot more stuff is going to be made generally available. NONE of
Dylan's stuff really sells, relatively speaking, so I don't think that's
such a big issue here.

There was an issue of Goldmine last year, I think, that had a great
article about 
the bootleg series, including some very interesting "wish lists". The
Royal Albert Hall show, or the show that's supposed to be Royal Albert
Hall, is near the top of the list. I've paid too much money for a cruddy
recording of this show, and then gotten a low generation copy from the
original acetates for free. It's incredible, of course. I am 
looking forward to the CD release.
Newsgroups: rec.music.dylan
From: zureick@ucunix.san.uc.edu (John H. Zureick)
Subject: ROLLING STONE RANDOM NOTES
Organization: University of Cincinnati
Date: Fri, 24 Jul 92 14:55:04 GMT

Check out the current issue of Rolling Stone.  In the Random Notes
section they have a blurb and picture of Bob's son Zack's band
called the Wallflowers.

Now for extra points:  Can you pick out young Dylan from the other
band members without benefit of the caption?  HINT: You are allowed to
use any early Dylan album cover. 
-- 
John H. Zureick					zureick@ucunix.san.uc.edu
From: jcvl_ltd@uhura.cc.rochester.edu (Jenny M. Cavallerano)
Newsgroups: rec.music.dylan
Subject: test
Summary: test
Keywords: test
Date: 25 Jul 92 14:06:10 GMT
Organization: University of Rochester - Rochester, New York

Test
Newsgroups: rec.music.dylan
From: paul.fletcher@rose.com (paul fletcher)
Subject: INFO on FTP
Organization: Rose Media Inc, Toronto, Ontario.
Date: Thu, 30 Jul 1992 14:37:02 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.70)


Date Entered: 07-29-92 19:16
 The archives are at dec2.wu-wien.ac.at

    I have heard about this FTP site and others relating to Dylan etc 
but I am new at this game and do not know how one would connect to 
these or get the info from them.  Any help and info would be greatly 
appreciated.


    Thanks   Paul Fletcher

   FROM PAUL FLETCHER, TORONTO ONTARIO, CANADA

     SEND REPLIES TO:
                         PAUL.FLETCHER.@ROSE.COM

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