{"id":981,"date":"2024-07-06T16:27:27","date_gmt":"2024-07-06T16:27:27","guid":{"rendered":"https:\/\/beatles-shootouts.de\/?page_id=981"},"modified":"2024-07-07T09:17:26","modified_gmt":"2024-07-07T09:17:26","slug":"deutsch-revolver-legacy","status":"publish","type":"page","link":"https:\/\/beatles-shootouts.de\/en\/shootouts\/legacy-shootouts\/deutsch-revolver-legacy\/","title":{"rendered":"Revolver (Legacy)"},"content":{"rendered":"<a href=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"982\" data-permalink=\"https:\/\/beatles-shootouts.de\/en\/shootouts\/legacy-shootouts\/deutsch-revolver-legacy\/covers\/\" data-orig-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?fit=1600%2C1137&amp;ssl=1\" data-orig-size=\"1600,1137\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"covers\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?fit=300%2C213&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?fit=1024%2C728&amp;ssl=1\" class=\"aligncenter size-large wp-image-982\" src=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?resize=1024%2C728&#038;ssl=1\" alt=\"\" width=\"1024\" height=\"728\" srcset=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?resize=1024%2C728&amp;ssl=1 1024w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?resize=300%2C213&amp;ssl=1 300w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?resize=768%2C546&amp;ssl=1 768w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?resize=1536%2C1092&amp;ssl=1 1536w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/covers.jpg?w=1600&amp;ssl=1 1600w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/p>\n<p>First published: May 11, 2021<\/p>\n<p><strong>The Candidates:<\/strong><\/p>\n<ul>\n<li><a href=\"2\/\">UK 1973 Pressing<\/a><\/li>\n<li><a href=\"3\/\">German 2nd Cut (1973)<\/a><\/li>\n<li><a href=\"4\/\">German 3rd Cut (1980)<\/a><\/li>\n<li><a href=\"5\/\">Japanese 1972 Pressing<\/a><\/li>\n<li><a href=\"6\/\">Dutch 1984 Pressing<\/a><\/li>\n<li><a href=\"7\/\">The Verdict<\/a><\/li>\n<\/ul>\n<p><!--nextpage--><\/p>\n<h2><strong><a href=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"983\" data-permalink=\"https:\/\/beatles-shootouts.de\/en\/shootouts\/legacy-shootouts\/deutsch-revolver-legacy\/label01\/\" data-orig-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?fit=1200%2C1200&amp;ssl=1\" data-orig-size=\"1200,1200\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"label01\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?fit=300%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?fit=1024%2C1024&amp;ssl=1\" class=\"alignright size-medium wp-image-983\" src=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?resize=300%2C300&#038;ssl=1\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?resize=80%2C80&amp;ssl=1 80w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?resize=320%2C320&amp;ssl=1 320w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label01.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>UK Reissue (1973)<\/strong><\/h2>\n<p><strong>PCS 7009<\/strong><\/p>\n<p><a href=\"https:\/\/www.discogs.com\/The-Beatles-Revolver\/release\/2633464\" target=\"_blank\" rel=\"noopener\">Discogs<\/a> | <a href=\"http:\/\/thebeatles-collection.com\/wordpress\/2011\/07\/16\/revolver-parlophone-pcs-7009\/\" target=\"_blank\" rel=\"noopener\">TheBeatles-Collection<\/a><\/p>\n<p>Matrix:<br \/>\nSide A: YEX 605-2<br \/>\nSide A: YEX 606-2<\/p>\n<p>Discogs lists it as being from 1973 (they actually quote a book source with the info that the earliest instances of the \u201cEMI Records\u201d rim text were already in use by that year). Therefore, I let it stand, as the 1973 version indeed used the second UK cut of this album with the -2\/-2 matrices. Lacking a 1<sup>st<\/sup> cut in my collection, this will be the reference pressing to compare the others with.<\/p>\n<p>Just one word to describe this record. Real smooth. Two words!<\/p>\n<p>The overall harmonization between the basses (which are strong, but still detailed and well-defined), the voices and the trebles is excellent. \u201cTaxman\u201d especially suitable as a demo track, having 1) the powerful, but detailed bass line, 2) the choir singing on the bridges, 3) detailed tambourine on the trebles and 4) the overall harmonic feeling to it. But this goes on with other songs, as well. \u201cI\u2019m Only Sleeping\u201d with the bass and the acoustic guitar, or Paul\u2019s ballad \u201cHere, There and Everywhere\u201d or \u201cFor No One\u201d are good examples. And the last three tracks on Side B are quite good references for the relentlessly pounding bass, being strong but not over the top.<\/p>\n<p>Though it\u2019s not without its flaws, as well. The last songs on each track, \u201cShe Said, She Said\u201d and \u201cTomorrow Never Knows\u201d sound somehow muddled. I suppose that\u2019s because both are 1) rather of dynamic character, and 2) placed close to the center labels. Both factors in combination mean they\u2019re being prone to inner-groove distortion. Thus, they slightly lack in detail and resolution.<\/p>\n<p><strong>Overall:<\/strong> great version of this album.<\/p>\n<p><!--nextpage--><\/p>\n<h2><strong><a href=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"984\" data-permalink=\"https:\/\/beatles-shootouts.de\/en\/shootouts\/legacy-shootouts\/deutsch-revolver-legacy\/label02\/\" data-orig-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?fit=1200%2C1200&amp;ssl=1\" data-orig-size=\"1200,1200\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"label02\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?fit=300%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?fit=1024%2C1024&amp;ssl=1\" class=\"alignright size-medium wp-image-984\" src=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?resize=300%2C300&#038;ssl=1\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?resize=80%2C80&amp;ssl=1 80w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?resize=320%2C320&amp;ssl=1 320w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label02.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>German 2<sup>nd<\/sup> Cut (1972)<\/strong><\/h2>\n<p><strong>SHZE 186<\/strong><\/p>\n<p><a href=\"https:\/\/www.discogs.com\/The-Beatles-Revolver\/release\/2957213\" target=\"_blank\" rel=\"noopener\">Discogs<\/a> | <a href=\"https:\/\/beatles-shootouts.de\/beatles-german-cuts-list\/1962-1966\/revolver\/#2\" target=\"_blank\" rel=\"noopener\">German Matrix Database<\/a><\/p>\n<p>Matrix:<br \/>\nSide A: SHZE 186 A-X2<br \/>\nSide B: SHZE 186 B-2<\/p>\n<p>This is the 2<sup>nd<\/sup> cut which replaced the first cut (that I don&#8217;t have) that was released in 1966 and re-released in 1969 on blue Odeon\/H\u00f6rzu labels. The 1972 H\u00f6rZu version is this version (I also own a copy from late 70s on the Apple label with the catalog number 1C 072-04 097, which contains the same cut). So, a search for this version can prove quite tricky, as it can be easily confused with the \u201969 H\u00f6rZu version (1<sup>st<\/sup> cut), and the 1980 \u201c1C 172\u201d version (3<sup>rd<\/sup> cut). Visually, this record can be identified by having wide deadwax areas on both sides. The SHZE parts of the matrix are stamped very close to the label area, and there can be an additional 04097-A-2 \/ 04097-B-2 part added.<\/p>\n<p>Now to the sound. Pleasant, interesting, but a bit different! I would describe it as this: the bass has been slightly reduced in power, and the stereo panorama has been widened compared to the UK. The result is a slightly different experience from the UK version. Whereas in the UK, everything is folding harmonically together, in the 2<sup>nd<\/sup> German cut, you have a greater instrument separation (the trebles are brilliant!) and thus better details, but less an integrated experience as a whole.<\/p>\n<p>This is noticeable on various songs to a different degree. \u201cTaxman\u201d is probably the best example for demonstration: the instruments are wider apart, the bass is slightly less strong, and the voice is more prominent. The bass reduction in bass is also feelable on \u201cAnd Your Bird Can Sing\u201d which somehow lack substance in the center, leaving a kind of an acoustic hole, while the voice is slightly too present once again.<\/p>\n<p>This effect is less noticeable on some other tracks. In fact, on \u201cEleanor Rigby\u201d, and \u201cLove You To\u201d, being not too bassy to begin with, you barely notice a difference to the UK. On \u201cHere, There and Everywhere\u201d you notice the heightened mid-ranges, as you do on \u201cFor No One\u201d (great details in Paul\u2019s voice on this one!) or on \u201cGood Day Sunshine\u201d (still having enough meat on that low piano chords), without the bass feeling noticeably less. \u201cYellow Submarine\u201d, an intricate track, is actually a joy on the German version, with every effect localizable in the space, the stereo panorama being wider and the bass reduction feeling very slight. \u201cShe Said, She Said\u201d, actually sounds slightly better on the German version, the UK sounding more muddled, whereas the difference in bass is rather negligible. The last three songs on Side B featuring a hammering, pounding bass on the UK, are slightly reduced in that aspect on the German version, but to different effects. \u201cI Want to Tell You\u201d I actually liked slightly better on the German version, as the bass is less overpowering the midrange details. In \u201cGot to Get You into My Life\u201d, the UK wins again: in addition to reduced bass, it sounds somehow brittle on the German version, the horns and the singing being too thin. And as for \u201cTomorrow Never Knows\u201d, I once again liked the German 2<sup>nd<\/sup> better: it is more dynamic, less murky, the voice less buried in the mix, the sound effects very distinctive, the tambourine on \u201cit is being\u2026\u201d especially well-defined even compared to UK. The bass doesn\u2019t feel weaker, but rather more detailed.<\/p>\n<p><strong>Overall:<\/strong> A mixed bag of impressions. The German 2<sup>nd<\/sup> is an excellent cut, which basically has four things changed to the UK: 1) slightly reduced bass (and I mean, very slightly), 2) slightly heightened mid-range, making the singing voice more prominent, 3) a widened stereo panorama, thus making details in instrumentation more distinct, and 4) keeping the deadwax areas wide, thus improving the sound of the last track on each side (I suppose, that happened on the cost of bass reduction). However, the UK is still a more smooth, consistent and harmonic listening experience with a more powerful bass line.<\/p>\n<p><!--nextpage--><\/p>\n<h2><strong><a href=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"985\" data-permalink=\"https:\/\/beatles-shootouts.de\/en\/shootouts\/legacy-shootouts\/deutsch-revolver-legacy\/label03\/\" data-orig-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?fit=1200%2C1200&amp;ssl=1\" data-orig-size=\"1200,1200\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"label03\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?fit=300%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?fit=1024%2C1024&amp;ssl=1\" class=\"alignright size-medium wp-image-985\" src=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?resize=300%2C300&#038;ssl=1\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?resize=80%2C80&amp;ssl=1 80w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?resize=320%2C320&amp;ssl=1 320w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label03.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>German 3<sup>rd<\/sup> Cut (1980)<\/strong><\/h2>\n<p><strong>1C 072-04 097<\/strong><\/p>\n<p><a href=\"https:\/\/www.discogs.com\/The-Beatles-Revolver\/release\/16898295\" target=\"_blank\" rel=\"noopener\">Discogs<\/a> | <a href=\"https:\/\/beatles-shootouts.de\/beatles-german-cuts-list\/1962-1966\/revolver\/#3\" target=\"_blank\" rel=\"noopener\">German Matrix Database<\/a><\/p>\n<p>Matrix:<br \/>\nSide A: 04097-A1<br \/>\nSide B: 04097-B1<\/p>\n<p>This is the famous \u201cBig Bass\u201d version which has a bit of a special status among fans. As a matter of fact, it has been first published in 1980, though my copy is a repress from the early 80s with a newer label. I extra had to look for a copy for this shootout and found a NM copy, no less.<\/p>\n<p>Also, interesting: while there are slight runtime and speed differences between all the candidates, the German 2<sup>nd<\/sup> and 3<sup>rd<\/sup> actually have virtually identical runtimes. That could mean that the same tape was used as a source for both cuts, the change being just the tweaking of EQ.<\/p>\n<p>And how it\u2019s been tweaked! \u201cTaxman\u201d is already a dead giveaway. Where the difference in bass between the German 2<sup>nd<\/sup> and the UK was rather marginal in comparison, the German 3<sup>rd<\/sup> has the bass really turned up (dynamic frequency analysis shows a gain of ~6db). On the downside, the inflated bass lacks the definition and details compared to the UK. Though the voices and Ringo\u2019s cowbells and cymbals are still detailed and pronounced. But that\u2019s because the trebles have also been turned up!<\/p>\n<p>This actually leads to some not-so-nice experiences on \u201cI\u2019m Only Sleeping\u201d and \u201cLove You To\u201d. The thumping bass (on the former one) aside, the problem are the heightened trebles. The acoustic guitar on \u201cI\u2019m Only Sleeping\u201d, the sitar and tambourine on \u201cLove You To\u201d sound so brittle, it\u2019s almost painful to listen to, actually. And \u201cShe Said, She Said\u201d is a bit overpowered by everything, the bass, the vocals, the brittle guitars, it\u2019s all too much.<\/p>\n<p>The first half of Side B is actually a bit better. Though being amplified, the bass retains some of its definition, \u201cFor No One\u201d is a good example, as is \u201cDoctor Robert\u201d and \u201cGood Day Sunshine\u201d. But then we have the three last songs with the thumping bass. It is especially thumping on \u201cI Want to Tell You\u201d, slightly less so on \u201cGot to Get You into My Life\u201d and then droning relentlessly on \u201cTomorrow Never Knows\u201d, so the rest is just drowning. Now if there is one track that is really ruined by the Big Bass, this is it.<\/p>\n<p>As a matter of fact, only one song really profits from this EQ treatment. The double-basses and cellos on \u201cEleanor Rigby\u201d now have a nice low end to it.<\/p>\n<p><strong>Overall:<\/strong> if you have some fancy Japanese cartridge with weak bass reproduction, this is probably the copy to own. I liked it in parts, but on the other hand, some tracks were outright unpleasant to my ears. An entirely different experience compared the 2<sup>nd<\/sup> German cut, let alone the UK version.<\/p>\n<p><!--nextpage--><\/p>\n<h2><strong><a href=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"986\" data-permalink=\"https:\/\/beatles-shootouts.de\/en\/shootouts\/legacy-shootouts\/deutsch-revolver-legacy\/label04\/\" data-orig-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?fit=1200%2C1200&amp;ssl=1\" data-orig-size=\"1200,1200\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"label04\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?fit=300%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?fit=1024%2C1024&amp;ssl=1\" class=\"alignright size-medium wp-image-986\" src=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?resize=300%2C300&#038;ssl=1\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?resize=80%2C80&amp;ssl=1 80w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?resize=320%2C320&amp;ssl=1 320w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label04.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>Japanese 1972 Pressing<\/strong><\/h2>\n<p><strong>AP-8443<\/strong><\/p>\n<p><a href=\"https:\/\/www.discogs.com\/release\/16937397-The-Beatles-Revolver\" target=\"_blank\" rel=\"noopener\">Discogs<\/a><\/p>\n<p>Matrix:<br \/>\nSide A: YEX-605 2S2<br \/>\nSide B: YEX-606<\/p>\n<p>Now for the Japanese. The one thing I noticed immediately is, Side A has been cut considerably longer than any of the other candidates, therefore running slightly slower (and actually audibly lower). Side B is fine, though. The next thing is, that was the best-quality vinyl out of the lot, dead silent, and no mistake.<\/p>\n<p>Now let\u2019s dive in. \u201cTaxman\u201d immediately makes obvious what the EQ choice was. The Japanese is reduced in volume altogether (-1db). Then, the bass. The whole bass section feels less powerful, even less than the 2<sup>nd<\/sup> German cut. It has some nice definition, but just lacks the necessary punch. The voices stand out more, whereas in the UK, they feel harmonically embedded into the panorama. As for panorama, it hasn\u2019t been touched (like the German 2<sup>nd<\/sup> did), so it\u2019s just the bass thing. Even on rather mid-ranged \u201cEleanor Rigby\u201d, the low end feels lacking.<\/p>\n<p>As for the trebles, they are very detailed and fine (tambourines on \u201cLove You To\u201d). The lower trebles (sitar) sound fine and not grating.\u00a0 \u201cHere, There and Everywhere\u201d sounds very pleasant even though the bass is less punchy (but still enough, smooth and defined). \u201cYellow Submarine\u201d has a nice separation of the effects, but ultimately lacks the ultimate bit of punch in the drum area: \u201cAnd he told, boom, boom, us of his life, bu-boom, bu-boom\u201d.<\/p>\n<p>As for the last track on Side A, \u201cShe Said, She Said\u201d \u2026 Being cut both close to the middle and being skewed towards the trebles, it sounds muddled, the long cymbals at \u201cAnd she\u2019s making me feel\u2026\u201d undefined and murky. It loses out even compared to the (also slightly muddled) UK version.<\/p>\n<p>Another unpleasant surprise: the sibilance. Right at the start of Side B: \u201cGooood day, thunshine\u201d. The lack of bass is less substantial here, but the raised trebles made the S-s sounds really weird, something not present on any of the previous candidates. Same goes for \u201cFor No One\u201d in places: \u201cAnd in her eyes, you thee nothing\u2026\u201d.<\/p>\n<p>\u201cI Want to Tell You\u201d lacks once again the pounding punch of the UK version. \u201cGot to Get you Into My Life\u201d is somehow similar to the German 2<sup>nd <\/sup>in terms of sounding sharp and somehow brittle in the trebles (intro horns), whereas the UK offers a more harmonic experience.<\/p>\n<p>As for \u201cTomorrow Never Knows\u201d, the last track on Side B. The raised trebles and the lack of bass make it the murkiest version of the lot so far. Sibilance is more pronounced (\u201crelax and float downthtream\u2026\u201d). The tambourine on \u201cit is being\u2026\u201d is more prominent compared to the UK, but sounds brittle and undefined. The distorted \u201cThat love is all, that love is everyone\u201d is somehow shifted from the center slightly to the right (unlike the UK or the German, for that part).<\/p>\n<p><strong>Overall:<\/strong> this time, the Japanese version was something of a disappointment. Quite a serious lack of bass, raised trebles (causing sibilance at places) and muddy-sounding inner tracks don\u2019t quite make up for the Japanese quality of Japanese vinyl.<\/p>\n<p><!--nextpage--><\/p>\n<h2><strong><a href=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"987\" data-permalink=\"https:\/\/beatles-shootouts.de\/en\/shootouts\/legacy-shootouts\/deutsch-revolver-legacy\/label05\/\" data-orig-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?fit=1200%2C1200&amp;ssl=1\" data-orig-size=\"1200,1200\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"label05\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?fit=300%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?fit=1024%2C1024&amp;ssl=1\" class=\"alignright size-medium wp-image-987\" src=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?resize=300%2C300&#038;ssl=1\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?resize=80%2C80&amp;ssl=1 80w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?resize=320%2C320&amp;ssl=1 320w, https:\/\/i0.wp.com\/beatles-shootouts.de\/wp-content\/uploads\/2024\/07\/label05.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>Dutch 1984 Pressing<\/strong><\/h2>\n<p><strong>1A 062-04097<\/strong><\/p>\n<p><a href=\"https:\/\/www.discogs.com\/The-Beatles-Revolver\/release\/1778774\" target=\"_blank\" rel=\"noopener\">Discogs<\/a><\/p>\n<p>Matrix:<br \/>\nSide A: YEX-605&#8211;A&#8211;28533-3Y<br \/>\nSide B: YEX-606-B&#8211;29354-2-Y<\/p>\n<p>This is a version I got first back in the day, and I didn\u2019t think anything good or bad of it. All the more reason to rank it among its peers that came into the collection after it.<\/p>\n<p>And it starts out damn fine! As a matter of fact, when listening to \u201cTaxman\u201d right after the UK, I had some difficulties finding out the differences at first. When switching back and forth, they are there, of course. The Dutch version has a slightly wider stereo panorama, and the voice is a slightest bit less present. But the bass, the trebles, the details, everything is there, and it sounds just beautifully. Great cowbells, powerful and yet detailed bass. Sweet!<\/p>\n<p>\u201cEleanor Rigby\u201d basically offers the same picture: a slightly wider panorama, and also a slightly reduced midrange in order for the voice to remain integrated with the instruments. The trebles on \u201cI\u2019m Only Sleeping\u201d and \u201cLove You To\u201d are quite nice, though the sitar seems slightly less present on the NL version.<\/p>\n<p>Now, the last track on Side A, \u201cShe Said, She Said\u201d, is a surprise. Compared to the UK\u2019s version, it\u2019s good 2db louder, adding more punch to everything. The UK actually sounds a bit flatter, murkier, the NL has better instrument separation (due to wider stereo panorama) and more punch all around, without making it to a mess like German 3<sup>rd<\/sup>.<\/p>\n<p>Side B is a bit different. For once, it\u2019s lower in volume by ~2db. The voice on \u201cGood Day Sunshine\u201d is slightly reduced once again. With the stereo panorama being wider, it doesn\u2019t have the same presence as the UK has. The UK offers a richer vocal experience here, though the basses and the trebles on the Dutch are quite full and detailed.<\/p>\n<p>\u201cAnd Your Bird Can Sing\u201d, a rockier tune, sounded more interesting on the NL issue, due to better instrument separation, those hi-hats and bass are really nice and distinctive \u2013 a pleasure. As is \u201cFor No One\u201d \u2013 here, for once, the vocal has more presence, the stereo panorama offers greater detailing to the trebles and the clavichord. \u201cDoctor Robert\u201d sounded virtually identical to the UK.<\/p>\n<p>Now \u201cI Want to Tell You\u201d is where it is a bit different. On the UK, the guitar, the drums and the piano are slightly to the left, and the bass and the vocals are to the right. On the NL, the guitar, drums and piano are centered, the bass and vocals are still on the right, but the vocals are slightly reduced in volume. Interesting choice, not necessarily bad, but I wonder why.<\/p>\n<p>On \u201cGot to Get You Into My Life\u201d, the stereo is widened again, but the voice on the NL is slightly more prominent, being in the center. The brass and snares sound excellent, nothing brittle there.<\/p>\n<p>As for \u201cTomorrow Never Knows\u201d \u2013 it is widened again, and that really shines. Nothing brittle or murky there, with great details in the trebles, while sounding EQ-wise very similar to the UK which is rather muddled in details.<\/p>\n<p><strong>Overall:<\/strong> an excellent mastering, very true to the UK, but even occasionally outshines it.<\/p>\n<p><!--nextpage--><\/p>\n<h2>The Verdict<\/h2>\n<ul>\n<li><strong>Place 0.<\/strong> Okay, this is not entirely accurate, not being the first cut and all. But on the whole, the UK offers the smoothest overall impression, strong basses and the instruments flowing seamlessly with the vocals. A pleasant listen, slightly marred by slight murkiness in the final tracks of each side.<\/li>\n<li><strong>Place 1.<\/strong> Hands down, the NL version. Very true to the UK in terms of EQ, but with a wider panorama, more details and still sounding very pleasant overall. That will most probably become my version of choice, along with the UK.<\/li>\n<li><strong>Place 2.<\/strong> German 2<sup>nd<\/sup> cut from 1972. While being a bit reserved on the bass side, it\u2019s still nice, detailed, and quite pleasant to listen to.<\/li>\n<li><strong>Place 3.<\/strong> Japan 1972. Rather poor in the bass section, while still being murky on the last tracks on each side. Plus, the sibilance.<\/li>\n<li><strong>Place 4.<\/strong> German 3<sup>rd<\/sup> cut from 1980. It seems they tried to fix the problems of the tape used for the 2<sup>nd<\/sup> cut with some EQ trickery. Alas, it sounded both bloated and brittle at the same time, and in times really was getting on my nerves.<\/li>\n<\/ul>","protected":false},"excerpt":{"rendered":"<p>&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":934,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-981","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/pages\/981","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/comments?post=981"}],"version-history":[{"count":8,"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/pages\/981\/revisions"}],"predecessor-version":[{"id":995,"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/pages\/981\/revisions\/995"}],"up":[{"embeddable":true,"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/pages\/934"}],"wp:attachment":[{"href":"https:\/\/beatles-shootouts.de\/en\/wp-json\/wp\/v2\/media?parent=981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}