Since they have the old Altec 605 I would not be surprised if they used them .One would have to ask them directly.

Here is what Mix Magazine reported.


The speakers used to evaluate the masters ranged from large Quested and B&W monitors to listening on iPod.


The transfers were done on a 1972 Studer A-80. From there, they went into a high-resolution Prism Sound ADA-8XR into Pro Tools at 24 bits/192 kHz. ?When we put on the masters and compared them with the original CDs, we all felt, in general, that what we were hearing on the masters was immediately more transparent than the original CDs,? states Massey, who worked on the stereo re-masters with mastering engineer Steve Rooke and Paul Hicks


?We didn?t want to obviously have these as loud as a modern rock record,? says Massey. ?Basically, the stereo re-masters, at the maximum, are only 4 dBs louder than the original CDs. We used limiting very sparingly, and hopefully very transparently. We wanted to retain the dynamics of the songs and basically not limit them.?



The approach wasn?t to make the sound merely more appealing to ?modern? ears, but rather, to try and approximate what the team felt George Martin and the band would have wanted had they not been limited by the vinyl medium. ?We have got some of the [disc] cutting notes from the ?60s that Harry Moss did and there was very little that he did to them, but the inevitable things were sometimes reduction of bass, because he couldn?t get it on?the vinyl couldn?t handle the bass back then,? says Massey. ?You?ll notice elevated bass and louder drums now. We really tried to push some of those elements. We weren?t trying to just make a cleaner version of the original stereos.?


Rouse is quick to point out that all the tapes, which were EMI 811, were in excellent condition. ?EMI used to be quite a good company for manufacturing things, including tape,? remarks Rouse. ?We?ve never baked an EMI tape. Ever! We checked the heads after each title and a little bit of dust was about all we encountered. ?


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