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The Beatles
Abbey Road
LP, 1980, Limited Edition, Re-Release, Remastered
| Herstellungsland | Japan |
|---|---|
| Veröffentlichungs-Jahr | 1980 |
| Orig. Release | 1969 |
| Zeit | 46:52 |
| EAN-Nr. | nicht vorhanden |
| Label/Labelcode | nicht vorhanden |
| Plattenfirma/Katalog-Nr. | MFSL / MFSL 1-023 |
| Musikrichtung | Rock: Beat, Melodic Rock, Pop-Rock, Progressive Rock |
| Sammlungen | Gesucht | Flohmarkt |
|---|---|---|
| 26 (6 privat) | 0 | 0 |
Tracklist
I = Instrumental
L = Live
B = Bonustrack
H = Hidden Track
C = Coversong
| LP | |||
|---|---|---|---|
| Track | Titel | Zeit | Besonderheit |
| Gesamtzeit | 46:52 | ||
| A 1. | Come Together | 4:16 | |
| A 2. | Something | 2:59 | |
| A 3. | Maxwell's Silver Hammer | 3:24 | |
| A 4. | Oh! Darling | 3:26 | |
| A 5. | Octopus's Garden | 2:49 | |
| A 6. | I Want You | 7:49 | |
| B 7. | Here Comes The Sun | 3:04 | |
| B 8. | Because | 2:45 | |
| B 9. | You Never Give Me Your Money | 3:57 | |
| B 10. | Sun King | 2:31 | |
| B 11. | Mean Mr. Mustard | 1:06 | |
| B 12. | Polythene Pam | 1:13 | |
| B 13. | She Came In Through The Bathroom Window | 1:58 | |
| B 14. | Golden Slumbers | 1:31 | |
| B 15. | Carry That Weight | 1:37 | |
| B 16. | The End | 2:04 | |
| B 17. | Her Majesty | 0:23 | |
Infos
Rights Society: BMI
Matrix / Runout (Label A): MFSL 1-023 A
Matrix / Runout (Label B): MFSL 1-023 B
Matrix / Runout (Runout Side A Stamped (Except A5 Etched)): MFSL1-023 - A5 151 ✽ ✣
Matrix / Runout (Runout Side B Stamped (Except B1 Etched)): MFSL1-023 - B1 111 ✣
Matrix / Runout (Runout Sides A & B Etched): SR/2
Manufactured By – Mobile Fidelity Sound Lab
Distributed By – Mobile Fidelity Sound Lab
Licensed From – Capitol Records, Inc.
Copyright (c) – Mobile Fidelity Sound Lab
Producer – George Martin
Remastered By [Half-speed Mastering] – Stan Ricker
Original master recording remastered edition of the 1969 album.
Pressed in Japan.
Recorded in England.
© 1980
Half-speed Mastering[edit]
MFSL was the first record company to make Half-speed Mastering a standard practice for all of its LP releases. MFSL LPs are pressed from disc lacquers cut at 1/2 normal playing speed. This was not a new concept however. The UK Decca Records label had used the same process on many stereo classical music LP releases between 1958 and 1967. MFSL revived the practice, refined it, and made it the company's major selling point. It is a time consuming process that also presented technical challenges, so its use was never common or widespread, despite sonic advantages. Sound is transferred from tape to disc with both the master tape and the disc cutting lathe playing at half speed. For instance, a 30 inch per second (IPS) speed tape would be played at 15 IPS, while the lathe is running at 16 2⁄3 RPM (when cutting a standard 33 1⁄3 RPM LP). Half-speed Mastering allows for extended frequency response and better transient attack.
Matrix / Runout (Label A): MFSL 1-023 A
Matrix / Runout (Label B): MFSL 1-023 B
Matrix / Runout (Runout Side A Stamped (Except A5 Etched)): MFSL1-023 - A5 151 ✽ ✣
Matrix / Runout (Runout Side B Stamped (Except B1 Etched)): MFSL1-023 - B1 111 ✣
Matrix / Runout (Runout Sides A & B Etched): SR/2
Manufactured By – Mobile Fidelity Sound Lab
Distributed By – Mobile Fidelity Sound Lab
Licensed From – Capitol Records, Inc.
Copyright (c) – Mobile Fidelity Sound Lab
Producer – George Martin
Remastered By [Half-speed Mastering] – Stan Ricker
Original master recording remastered edition of the 1969 album.
Pressed in Japan.
Recorded in England.
© 1980
Half-speed Mastering[edit]
MFSL was the first record company to make Half-speed Mastering a standard practice for all of its LP releases. MFSL LPs are pressed from disc lacquers cut at 1/2 normal playing speed. This was not a new concept however. The UK Decca Records label had used the same process on many stereo classical music LP releases between 1958 and 1967. MFSL revived the practice, refined it, and made it the company's major selling point. It is a time consuming process that also presented technical challenges, so its use was never common or widespread, despite sonic advantages. Sound is transferred from tape to disc with both the master tape and the disc cutting lathe playing at half speed. For instance, a 30 inch per second (IPS) speed tape would be played at 15 IPS, while the lathe is running at 16 2⁄3 RPM (when cutting a standard 33 1⁄3 RPM LP). Half-speed Mastering allows for extended frequency response and better transient attack.