Digital remastering

[Exapno_Mapcase]

@md-2000

As I understood it, though, from some documentaries - they didn’t do the techie stuff, but they understood they could write far more than the basic 4 tracks by combining the first 4 to one, and recording 3 more, and so on… which allowed them to add in extra effects after the fact (like a French Horn?)

George Martin figured out how to do this. The Beatles basically said, hey, do that again.

[casdave]

To be honest this was not an unusual practice by the time of Sgt Peppers, plenty of manufacturers were making reel to reel machines designed to do exactly this - there was alkways the problem of the physical position of the record and replay heads and this was solved by using one replay head as a record head - it means that the three other tracks could be bounced down and yet maintain syncronisation with any new material being recorded.

I still have a couple of Bang & Olufsen reel to reel machines made in 1966 that have this facility, I am pretty sure that Revox, Studer and Ferrograph had such machines - they record/replay in one direction only whereas later machines would be wider tapes and minimum of 8 tracks.

[Hatchie]

@Francis_Vaughan

Well movies were shot at 24 frames per second, and in countries with 50 frames per second TV, they ran the film at 25 fps. So there was a slight but perceivable pitch change.

I hadn’t thought of that; it’s true if Burpo lives some place where they broadcast via the PAL system (I think they call it the MATE system in the UK, ha-ha) this might be happening. I wonder if they still do this though - it would seem by now they would have devised a better way to convert 24 to 25 without speeding the film up.