Yes, but on that one I can see being ok with getting the counterfeit, if you're into that, because you have the music still in pristine quality. If you buy something like the CD Singles box, only a real 'collector' is going to bother themselves with playing cd singles...what a hassle. So that person wants the 'real thing' not a counterfeit. The Rolling Stones “answer” to Sgt. Peppers… was the ill-conceived Their Satanic Majesties Request, which was a messy, self-indulgent concoction, that had some good moments despite itself, especially “2000 Man and “2000 Light Years From Home”. The true mono mix here is much better than the more familiar stereo mix. You’ll hear. The task, then, was to source the first generation tapes for this project,” said Landi. “The first generation recording may (or may not) be on the cutting master, it might be further up the chain on a complex album master or elsewhere. To complicate matters, because you are also looking at UK and USA versions of the same album, then one of them may have the first generation masters while the other will certainly not. For Out of Our Heads, for example, the first generation masters were largely present on the US version: the US version did appear before the UK version. Hence, the UK master had lower generation copies on its LP.” SID mould code ifpi B404 (or similar) or IFPI O8N5. Different fonts for matrix string. Different shapes of the CD. At least two fake versions were on the market. One was reporter by our own theo1954. It is numbered as ? 000003. Another fake was reported by Jessa on the other resource with box number ? 001962. The other one was discussed by Beave on Steve Hoffman’s music forum (no information about the number of the box).

Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. The safe choice is EU box. On the red side of the box there is barcode only. The CDs in the box are in modern ‘super jewel’ cases. Apparently, these were not faked. Given the cut and paste nature of many of these records, particularly the earlier American releases, attempting to cut lacquers from the original assembled cutting masters (assuming that they still existed) would be as bad an idea as cutting The Beatles Capitol catalog from those later generation “modified” tapes. Next in the U.K., released in 1965, came The Rolling Stones No. 2 another dark cover—the same one used in American on 12X5. This one was recorded at Chess, RCA Hollywood and Regent in the U.K and like the debut album it’s mostly covers including Allen Touissaint’s “Pain in My Heart”, but it has three originals “What A Shame”, “Grown Up Wrong” (was on 12X5) and the sardonic “Off the Hook”. The version of “Time Is On My Side” here has a guitar intro, the one on 12x5 has an organ intro. Look, I’ve been playing the originals for decades and as far as I’m concerned, going forward, this box set—despite the “uniformity” issue—is how I’ll be playing these albums. When I compared with the box set reissue, a Decca-pressed “London FFRR” version of Out of Our Heads, the original sounded compressed, cloudy in the midrange and rolled off on bottom.You can compare for yourself at the end of this story. Interestingly, so far as I write this people are preferring the original.In the early days of stereo having different sounds coming out of two different speakers (plus the “phantom” center channel) was a dazzling novelty making it easy to ignore the disjointed and artificial soundstage, with each of the channels having its own compartmentalized sonic environment. When exposed to the original mono mixes of familiar “stereo” mixes, today’s more sophisticated listeners can easily grasp the superiority of the mono mixes, which have a coherency, solidity and yes, depth of field that make the stereo mixes sound disjointed and far less satisfying. Keith Richards – acoustic and electric guitar, slide guitar, bass, fuzz bass, double bass, piano, vocals The Under Assistant West Coast Promotion Man (Single Version) (single B-side - Decca F.12220, 1965)

I'm sorry if I offended you in what I said about computer speakers. The fact remains the same however, the best computer speaker setups although good generally don't and can't sound as good as a good two channel setup. The Monsoon speaker setup is no exception even though they are a good setup. They just don't have the quality amplification needed to produce the proper dynamics needed. Not to mention that in most cases (yours may be different) you just can't set them up properly in the room for proper acoustics. Now that's not to say they won't sound decent and can't, because they can, but they just won't be in the same class as say a pre amp, amp and speakers setup perfectly in a room that is acoustically treated which is the way my system is setup. I was commenting both on the visceral impact as well as on some of the differences I was hearing in that recording. I'm obviously not alone in preferring the original. theme_alert": "Venta únicamente en méxico. Hacemos nuestro mejor esfuerzo para entregar su pedido a tiempo, sin embargo, puede haber retrasos mientras intentamos mantener a todos a salvo.",

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Yes, you can EQ each record to resemble the original if that’s your goal, though you’d not want to chop off the bass on the tape or cut dynamics for the sake of “authenticity”, but in the end the sound of the mastering chain will poke through, producing a similar character to all of the records in the box. There’s no way to avoid that, nor is there any way for you to avoid having every record you play take on the character of your system, though of course over time you get acclimated to it and don’t hear it until you hear a familiar record on someone else’s system. In fact, I'd say that as harsh, bass-free, compressed, and nerve-shreddingly nasty as those old originals are, they're not nearly painfully distorted enough. Note different width of the inner mirror band. Different fonts for matrix number, different width of barcode. Jones did participate in both the Beggars Banquet (included here with the original “toilet cover”) and the final Let it Bleed, albeit sporadically. By this time, his drug habit and emotional problems became too troublesome for the recording sessions. Glyn Johns, suggests that both these last albums from this era of the Stones were the coming of age for the group, “…signalled The Rolling Stones' coming of age.... I think that the material was far better than anything they'd ever done before. The whole mood of the record was far stronger to me musically.” As such, when Jones did finally come into work, Johns would isolate him in a booth, let him play what he liked, and never include the recording in the mix. Exasperated, both Jagger and Richards told Johns to “Just tell him to piss off and get the hell out of here!”.

Weird font for mould ifpi code (no code reported but the ifpi style on low quality images pointed to ‘Chinese ifpi B404’ type).In fact EMI had an employee whose only job was to play test pressings on all of the “kiddie phonographs” of the day to be sure they would play without skipping. Those that did were labeled (for obvious reasons) “kangaroo cuts” and new lacquers had to be cut with less bass and perhaps less dynamic range. One really minor complaint, I wish they had a blue Decca label for Their Satanic Majesties Request.

Despite the fact that almost all the tapes used in the box set were first generation, sometimes, you have no choice in the matter because it’s the only and/or best source (sometimes later generation sources sound better than first generation because the ‘first’ is in a relatively poor condition or somesuch). Even if a second generation tape has been used (and most of the sources in this box were first) then the second generation tape was an original source tape.” Because the Stones were recording on both sides of the Atlantic, things get complicated. Hence, some sources I had had to be second generation masters because they were the best masters available.

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If you’re wondering why The Rolling Stones in Mono box set was sourced from the original analog tapes transferred to DSD (single bit, 2.8224 MHz sampling rate digital) and not produced like The Beatles mono box¬—put up the tapes, cut lacquers all-analog— you’ve probably not carefully considered the differences between the two catalogs. pale/incorrect colors of the sleeves. Poorly glued sleeves. It is to be pointed out that the official US version came with rather sloppy sleeves. Yes, the sound is wildly inconsistent. It's part of the charm though. Just match the levels and live with it. You can't compare the beautiful full dynamic range of the Chess sound with the chopped off bottom and top of the RCA stuff. So put it on in all it's flawed glory. In terms of test software, I used original mono pressings of The Rolling Stones (1964) and No.2 (1965), Out of Our Heads (1965) and Aftermath (1966). For further comparative purposes, I also used relatively modern, mid-80s, pressings of The Rolling Stones and No.2.