Price Tags. Vinyl sources will include an estimated price tag in US dollars, taken mainly from completed eBay auctions. No tapes were tested. In cases where I was able to test for such imbalance, I provide details. End of Song. Details for various incarnations of this album are: here.
My Sources:. Ebbetts needle-drop FLAC. Ebbetts FLAC hiss: link. Sonic Rating. Good: Nice separation of the elements. Ripping good vocal mix and super rhythm. Bad: Kind of an ancient feeling, with bass a tad light. Pbthal needle-drop FLAC. FLAC signature. Good: Pretty close to Ebbetts sound, but high frequencies extended, leading to an excellent vocal mix and out-front drums before guitar.
Bad: Sort of a hollow feeling. A bit less bass than Ebbetts. Millennium Remasters mp3 signature: link. To be fair, the vocal sounds very nice here, but the rest is muffled. Nothing terrific, but not bad.
About the same as Millennium Remasters. My Sources: 1 Vinyl. Vinyl, no. Ebbetts, none. Very clean. Bad: Bass and drums take a back seat.
Monster guitar and top-notch vocals. Bad: Similar to the vinyl. Catalog EPEM My Source: Vinyl reissue. Good: Same as Introducing the Beatles vinyl. Bad: Same as Introducing the Beatles vinyl. CD Please Please Me My Source.
CD box set. None: link. Drums and vocal duel to the finish. Bigger bass not intrusive. Good vocal mix. Bad: Not much. Good: Great presentation of the elements. Up-to-date and dynamic with fat guitar, drums that go pop.
Dip at 1 KHz filled in. Compared to 1. Good: Drums and bass are relatively louder than the vocals, which makes for an interesting experience. Definitely a party! Drums a bit loud at times. Compared to its Vee-Jay cousin, Introducing the Beatles , this Variation has a bit more reverberation, though less than Variation 1. This perceived reverberation has been contrarily reported to be only tonal difference.
US 7-inch 45 More information and photos for Vee-Jay masters, mothers, and stampers are: here. More information on Vee-Jay releases and chart: here.
Vinyl, untested. Good: Nice little master, drums before guitar. Bad: Gained a bit loud, runs a tad slow. Good: Hot vocal, even if a little shrill. Bit more bass than the Bad: Some ragged edges which must come out on such a bold statement. A tad slow, like the Besides inherent ambience, and perhaps slightly more reverberation, there is no difference between this remix and Variation 1.
More details on the video game mix,. MOGG file multi-tracks, and outfakes: here. My Sources. Internet all. The video game mix has an inherent imbalance which gives this Variation a different and very nice ambience. After using Channel Duplication Solution, the ambience is deflated.
Spectrally, this Variation works out to be the equivalent of a much louder red wax. Bad: Somewhat bright, with metallic-sounding guitar and cymbals. This section regards the extracted.
MOGG file, consisting of 10, that is five pairs of Stereo, tracks. Full Playback o verall, too bright. Regrettably, guitar in the middle-eight is not normalized. Digital noise, obviously for drums. Muddy, but listenable. No improvement with any track mix. The inability to normalize the middle-eight ruins the isolation. Vocals virtually isolated. As we know, an "outfake" is a fan-created mix or recording. The video game mix and the. MOGG file multi-tracks have both been subjected to various fan-created treatments, including extraction and remix.
The bootleg Beatles Rock Bandology Vol. I have decided to avoid review of these outfakes, since they have purely subjective value. Mix Information. The takes were recorded as twin-tracks, two tracks recorded simultaneously, instruments to one side, vocals to the other. For Stereo mixing, the instrumental side of the twin-track was sent hard wide to the Left channel, while vocals were sent hard to the Right channel. Stereo Image Deviations.
The instrumental Left channel bleeds like crazy into the vocal channel, probably a deliberate action by George Martin to give certain sections the opening, the middle-eight and the finale a glorious Stereo rendering. Nevertheless, as fine as it turned out, it created deviations galore. It is difficult to say if any of these should be considered different Variations. Thus, I think it safer, prudent, and less confusing to display these Stereo image deviations without designating new Variation numbers.
Relative Channel Loudness. Beginning now, this section will change. Rather than comparative descriptions, I will be assigning a number from 1 to 10 for each channel, subjectively measuring the amplitude. For digital media, this is based on the waveform in Audacity. For analog media, this is based on channel LED indicators.
Note that numbers assigned to analog media do not correlate to digital media. Neither are the numbers perfect, but are approximations.
The reader is advised to run similar tests, and make necessary correlations, according to the gear. Relative Channel Loudness is the relation of the Left channel to the Right channel. Each source has its own recipe, affecting the listening experience, especially under headphones. Sonic Rating by Mono Summing. When I double-checked my findings in Stereo, I was pleased that they matched.
Guitar Flub. At about into the song, the rhythm guitar commits a serious error. Quite audible in Stereo, obscured in Mono. I deal with each appropriately in their respective sections. Whereas the Mono mix fadeout does not appear to extend as far as that on The Beatles Rock Band video game. UK LP, Two-box label, "-1" lacquer. Vinyl, Left 2, Right 3. Vinyl, GOOD. Good: Typical and adequate, with good vocal mix. Bad: Dinky. Hysteria, but not the good kind. Pbthal, GOOD. Good: Close to the vinyl.
Bad: Same deficits as the vinyl, plus some further twiddling with widening of the Stereo image. Good: Spectral analysis shows more mids and lows, compared to the first lacquer. Bad: All for naught as the instrumental channel is too loud. Ebbetts, GOOD. Good: Pretty close to the vinyl. Bad: Pretty close to the vinyl, plus some further twiddling with widening of the Stereo image.
General: Vee-Jay album, catalog SR My Source: Dr. Left 6, Right 8. Good: No defects. Good blend of the elements.
Nice vocal mix. Bad: Light on the bass. That would be like releasing a soundtrack of Crossroads Ralph Macchio without the guitar duel! Note to socniclovenoise -- can you do a proper soundtrack to Crossroads, including all the non-Ry Cooder bits? Especially the guitar duel!! Sorry, the scene you refer to is from National Lampoon's European Vacation! Great scene and perfect use of the music, though! This is perfect.
Completely plays like it would have at release. So authentic. Thanks a bunch for all of these. I made one minor addition once I downloaded this: After a minute of silence following the final track, I added the post-credits line.
He didn't say movie specifically, so it can totally apply to an album. Thanks for making this available, although with one quibble; there is no way the Beatles would have been included on a soundtrack album in the 80s, their legal team would never have approved it, even if it had not been messed with to the displeasure of McCartney.
My own addition to this: After roughly a minute of silence, the audio of the movie's post-credits scene plays. What about the film, "The Chase," which had the tag "Soundtrack available on Epitaph Records" at the end of the film but was never released? Thanks for all your work! This site is fantastic. Hi the download link seems to be broken. Do you still have the files? Would be really grateful if you could make them available again.
Since this Soundtrack was just recently released officially, this one is retired from my blog. I've been sharing a playlist with friends for two decades called 'Ferris Bueller's Bedroom Playlist'. It's so old that most of the files are mp3!? Anyway, great blog, great work!
Oh Yeah - Yello. Danke Shoen - Wayne Newton. Radio People - Zapp. I'm Afraid — The Blue Room. In effect, much of this material remained as rare vinyl-only b-sides and, in some cases, extremely out-of-print and nearly impossible to find. This reconstruction attempts to collect the best versions of the relevant selections from eleven different sources and present the cohesive album that Hughes did not believe could be made.
But what set Ferris Bueller apart from other 80s John Hughes films such as Sixteen Candles or Pretty in Pink was the lack of an official soundtrack album, despite having noteworthy and culturally relevant music featured in the film. Although the Ferris Bueller soundtrack has been reconstructed by other blogs throughout the years, my version is a bit different as it does not attempt to be all-inclusive and exhaustively comprehensive, what I perceive as a pitfall of those other versions.
My reconstruction will be limited to an album-length soundtrack, comparable to other John Hughes soundtracks—what would have most likely been released in In effect, I will not be including incidental music notably the score by Ira Newborn and other media themes used as comedic effect The Star Wars Theme, the theme from I Dream of Jeanie ; we will only include the music most likely to have been released on a soundtrack album.
The songs are sequenced in the order they appear in the film and it is also available in a lossless option, something not previously found on other blogs -- especially for the Fan Club 7" tracks. Notably, John Hughes overdubbed a horn section onto the track for the film to fit the setting, much to the displeasure of Paul McCartney; Hughes then kept the mix in the can after discovering he offended a Beatle!
And with that, we can stop and look around at what we otherwise missed! Sources used :. Labels: , , alternative , new wave , pop , rock.
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