Editing Days of Future Passed (section)

== Original and later mixes ==
In July 1978, it was discovered that the UK master tapes for ''Days of Future Passed'' had deteriorated. As a result of this, the album was [[remix]]ed in its entirety in August 1978,<ref name="Derek">{{cite web|title=/9/10 Derek Varnals Q&A|url=http://www.freewebs.com/rainbow_glo/6910derekvarnalsqa.htm|website=Travelling Eternity Road's WebTalk|date=9 June 2010|access-date=17 December 2019|archive-url=https://web.archive.org/web/20110414140208/http://www.freewebs.com:80/rainbow_glo/6910derekvarnalsqa.htm|archive-date=14 April 2011}}</ref> which was used for reissues between 1978 and 2017.<ref name="2017 Deluxe Edition" /> Some compilations, however, continued to use the original 1967 stereo mix for certain songs.<ref>{{cite web|url=http://forums.stevehoffman.tv/threads/moody-blues-days-of-future-passed-original-mix-question.127012/page-7#post-4375992|title=Moody Blues - Days of Future Passed Original Mix question|access-date=4 March 2016}}</ref> The album's original mix was eventually released in its entirety on [[compact disc]] in November 2017.<ref name="2017 Deluxe Edition" />

The ways in which the later mix departs most noticeably from the original are:
* After the orchestral intro, "Dawn Is a Feeling" begins more abruptly, and there is less echo on Mike Pinder's vocal on the bridge, making it more prominent.
* On "Another Morning" Ray Thomas's double vocals are spread left and right in the stereo channel. The flute interlude is also played twice towards the end of the song before the orchestral segue.
* The orchestral intro "Lunch Break" goes on about 15 seconds longer before fading out.
* The bridges to "(Evening) Time to Get Away" have John Lodge singing alone; all the backing vocals on that part have been lost.
* The end of "(Evening) Time to Get Away" is missing a Mellotron part and only repeats twice, instead of three times.
* "The Sun Set" is missing some piano parts, percussion parts, and the reverb on "through the night" is different.
* "Twilight Time" begins more abruptly after the orchestral interlude.
* The backing vocals on "Twilight Time" are heard through the entire song instead of only coming in at certain points.
* At the beginning of "Nights in White Satin", as the orchestral prelude ends, there is one less beat of time before the rhythm section starts in.
* Some of the strings near the end of "Nights in White Satin" (before "Late Lament") are out of sync with the main body of the song.