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NOTES:

This is an attempt to expain the criteria and methods I used to re-edit the tracks. I had previously posted an analysis and data on this subject. However, further examination revealed that some of that data was in error. This new analysis is designed to be definitive up to the point of speed correcting. My speed-correcting procedures are based on noted "time lengths" and not on musical pitch. Although it can be assumed that the band tuned to standard 'concert pitch'. it would be difficult to discern precisely. See further details of speed-correcting variables below.

The basis for the time lengths and track titles is based, primarily, on John Winn's excellent book, Way Beyond Compare.
I also utilized Doug Sulpy's The 910's Guide To Beatles' Outtakes.
The audio editing software used is Steinberg's WaveLab v3.0.
The illustrations were made using Paint Shop Pro v7.
Speed-Correcting result is accurate to within +/- 2ms
All edit points are placed at the closest point where I can identify the exact soundwave in both passages of a loop.


Because the sound is superior, I strictly used the Madman Records release Wildcat. However, I do note the corresponding track on the Batz release,
The Braun-Kirchherr Tapes and in a few cases, uitilzed a few fragments of additional sound found on The B-K Tapes.

John Winn told me that his "disc length" is for the complete recording (including all extraneous sound) and that his "actual lengths" were based on Hans Olof Gottfridsson's timings as stated in From The Cavern To The Star Club.

Doug Sulpy states in his 2004 edition, that Home Tapes One (Silent Sea) "adjusts the pitch and removes some of the looping". This would seem to indicate that not all of the looping was removed which would account for the differences in his "actual" length timings. Sulpy further states that, "at the moment, Silent Sea's set is the definitive one". However, based on the info that I present here, Silent Sea might be the definitive release, but it is still not accurate.

Note that, in all cases, I have decided to delete the SECOND passage of a loop. It would be entirely possible, I assume, to delete the first passage of the loop.
I deleted the second loops because, simply, it sounded more natural that way. In the end, the result should be the same deleting the first loop. A point of note is that, in all cases, even though the loops repeat precise passages of the performance, the repeated loop is not exactly the same length as the first passage. Subsequently, removing the first passage of a loop could produce a slightly different result once the edit is speed corrected.


Whew, did ya get all that? Anyway, It can be difficult to find the correct words to accurately describe my processes. I know what I'm talking about but that knowledge might not easily translate into words. If any of my explantions are unclear, please email me and I'll try to clarify things.







"Wildcat"...
"The Braun-Kirchherr Tapes"...

Doug Sulpy identification Number...
John Winn identification Number...

Full CD track length...
Actual recording length...
Performance length...

Loop 1...
gap...
Loop 2...

Sulpy length on disc...
Sulpy actual length...

Winn length on disc...
Winn edit point...
Winn actual length...

Recording length after edit...
Performance length after edit...
redraw wav after edit...
speed correction...


lengths are described as:
mn = minutes
s = seconds
ms = milliseconds

disc # track #
disc # track #

both Sulpy and Winn use ID numbers for the tracks but Suply's are more defined
and I regard Sulpy's as the definitive identification numbers

this is the complete length of the CD track
this is the actual length of the audio within the CD track
this is the actual length of the performance within the recording

this is the length of the first passage of a loop
the 'gap' indicates the space between the passages of the loops
this is the length of the second passage of a loop

as heard on Wildcat
as heard on Home Tapes One

as heard on Wildcat
this is where Winn says the edit point is
this is the alleged true length of the recording

this is the length of the full recording after a loop was removed
this is the length of the full performance after a loop was removed
in come cases, loop removal created a jagged edit, a redraw was to correct the jagged edit
this indicates if speed-correction was performed on the recording


Explanation of the "speed correcting" process.

The software I use calls it "time stretching". The actual length of the track is shown in the upper left red highlight. I enter the desired time length in the upper right highlighted area. Deselect "preserve pitch" (lower middle highlight). This allows the pitch of the recording to change relative to the new length of the track. I also select the "high quality" option to maintain the integrity of the sound.

Time stretching does not always produce the EXACT desired length but the difference is only a millisecond or two of margin in either direction. A difference too minute to be detected by the human ear.

The example shown here was used for the long June 1960 "instrumental #2" although the process was applied to all five tracks.



Note: this illustration was from my first (inaccurate) analysis but the process is identical.
As a result, the illustrated 'timings' are not accurate. Sorry, I was too lazy t create a new image.