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marijuana) accidentally loaded a reel-to-reel tape of the song on his machine backwards and essentially liked what he heard so much he quickly had the reversed overdub. A quick follow-up was the reversed guitar on "I'm Only
Sleeping", which features a dual guitar solo by George Harrison played backwards. Harrison worked out a guitar part, learned to play the part in reverse, and recorded it backwards. Likewise, a backing track of reversed drums and cymbals made its way into the verses of "Strawberry Fields Forever". The Beatles' well-known use of reversed tapes led to rumours of backwards messages, including many that fueled the
623:(a steam-driven organ). Such was the power of the Beatles within EMI that phone calls were made to see if a calliope could be hired and brought into the studio. However, only automatic calliopes, controlled by punched cards, were available, so other techniques had to be used. Martin came up with taking taped samples from several steam organ pieces, cutting them into short lengths, "throwing them in the air" and splicing them together. It took two trials; in the first attempt, the pieces coincidentally came back in more or less original order.
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trying evening of double tracking vocals, Townsend "had an idea" while driving home one evening hearing the sound of the car in front. ADT works by taking the original recording of a vocal part and duplicating it onto a second tape machine which has a variable speed control. The manipulation of the speed of the second machine during playback introduces a delay between the original vocal and the second recording of it, giving the effect of double tracking without having to sing the part twice.
664:", Ken Townsend synchronised two machines so that extra tracks were available for recording the orchestra. Speaking in an interview with Australia's ABC, Geoff Emerick described the technique; EMI tape machines' speed could be controlled using an external speed controller which adjusted the frequency of the mains supply to the motor. By using the same controller to control two machines, they were synchronised. Townsend thereby effectively used
668:, a technique that was common in 16mm news gathering whereby a 50/60 Hz tone was sent from the movie camera to a tape recorder during filming in order to achieve lip-synch sound recording. With the simple tone used for "A Day in the Life", the start position was marked with a wax pencil on the two machines and the tape operator had to align the tapes by eye and attempt to press play and record simultaneously for each take.
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431:. It was distinguished from its predecessors by a more complex guitar sound, particularly in its introduction, a sustained plucked electric note that after a few seconds swelled in volume and buzzed like an electric razor. This was the very first use of feedback on a rock record. Speaking in one of his last interviews — with the BBC's
255:" even at this relatively early date, the track begins with a gradual fade-in, a device which had rarely been employed in rock music. Paul McCartney would create more sophisticated bass lines by overdubbing in counterpoint to Beatles tracks that were previously completed. Also overdubbed vocals were used for new artistic purposes on "
379:" marked a major departure for the Beatles. McCartney recalled playing it to the other Beatles and Starr saying it did not make sense to have drums on the track and Lennon and Harrison saying there was no point having extra guitars. George Martin suggested a solo acoustic guitar and a string quartet.
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has been used to synchronise tape machines. Modern SMPTE timecode controlled recorders provide a mechanism so that the second machine will automatically position the tape correctly and start and stop simultaneously with the master machine. However, in 1967, SMPTE timecode was not available and other
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Microphones began to be placed closer to the instruments in order to produce a fuller sound. Ringo's drums had a large sweater stuffed in the bass drum to 'deaden' the sound while the bass drum microphone was positioned very close, which resulted in the drum being more prominent in the mix. "Eleanor
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Geoff
Emerick documented the change in attitude to pop, as opposed to classical music during the Beatles career. In EMI at the start of the 1960s, balance engineers were either "classical" or "pop". Similarly, Paul McCartney recalled a large "Pop/Classical" switch on the mixing console. Emerick also
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Although the technique was reasonably successful, Townsend recalled that when they tried to use the tape on a different machine, the synchronisation was sometimes lost. George Martin claimed this as the first time tape machines had been synchronised, although SMPTE synchronisation for video/audio
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vocals whereby the performer sings along with their own previously recorded vocal. Phil McDonald, a member of the studio staff, recalled that Lennon did not really like singing a song twice - it was obviously important to sing exactly the same words with the same phrasing—and after a particularly
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Emerick was the engineer on "A Day in the Life", which used a 40-piece orchestra and recalled "dismay" amongst the classical musicians when they were told to improvise between the lowest and highest notes of their instruments (whilst wearing rubber noses). However, Emerick also saw a change in
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in pop music (i.e. the sped-up tape loops in "Tomorrow Never Knows"), backward recordings came as a natural exponent of this experimentation. "Rain", the first rock song featuring a backwards vocal (Lennon singing the first verse of the song), came about when Lennon (claiming the influence of
274:"'s resonating glass bottle (towards the end of the track) are examples of this. In other instances the group deliberately toyed with situations and techniques which would foster chance effects, such as the live (and thereby unpredictable) mixing of a UK radio broadcast into the fade of "
502:, an independent producer from London, is known to have done it earlier (early 1960s) and in America, Motown's engineers had been using Direct Input since the early 1960s for guitars and bass guitars, primarily due to restrictions of space in their small 'Snakepit' recording studio.
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in recording, as Lennon would refer to ADT as "Ken's flanger", although other sources claim the term originated from pressing a finger on the tape recorder's tape supply reel (the flange) to make small adjustments to the phase of the copy relative to the original.
293:, a 122 or 122RV, a trick they would come back to over and over again. (At the end of the intro, the switching off of the Leslie is audible.) Also on "Tomorrow Never Knows" the vocal was sent through a Leslie speaker. Although not the first recorded vocal use of a
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we decided we must do something different for the next song... Why should we ever want to go back? That would be soft." The desire to "do something different" pushed EMI's recording technology through overloading the mixing desk as early as 1964 in tracks such as
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As the
Beatles' musical work developed, particularly in the studio, classical instruments were increasingly added to tracks. Lennon recalled the two way education; the Beatles and Martin learning from each other – George Martin asking if they'd heard an
259:" with John Lennon overlapping the end of one vocal phrase with the beginning of his next. On "I Want to Hold Your Hand" (1963) the Beatles innovated using organ sounding guitars which was achieved by extreme compression on Lennon's rhythm guitar.
419:, which uses feedback extensively, was composed early in 1964, though not heard publicly until the autumn of that year. In the same year as Ashley's feedback experiments, The Beatles song "I Feel Fine", recorded on 18 October, starts with a
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march by George Martin and Geoff
Emerick, the original solo was in the same key and was transferred to tape, cut into small segments and re-arranged to form a brief solo which was added to the song. A similar technique was used for
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attitude at the end of the recording when everyone present (including the orchestra) broke into spontaneous applause. Emerick recalled the evening as the "passing of the torch" between the old attitudes to pop music and the new.
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sessions, the
Beatles increasingly used the studio as an instrument in itself, spending long hours experimenting and writing. The Beatles demanded a lot from the studio; Lennon allegedly wanted to know why the bass on a certain
235:". He explains that the song "was the first time the bass sound had been heard in all its excitement ... To get the loud bass sound Paul played a different bass, a Rickenbacker. Then we boosted it further by using a
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tape recorders at home, which allowed them to record outside of the studio. Some of their home experiments were used at Abbey Road and ended up on finished masters, in particular on "Tomorrow Never Knows".
472:" strings. To fulfil this brief, Geoff Emerick close-miked the strings—the microphones were almost touching the strings. George Martin had to instruct the players not to back away from the microphones.
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noted a tension between the classical and pop people - even eating separately in the canteen. The tension was also increased as it was the money from pop sales that paid for the classical sessions.
80:: "We would say, 'Try it. Just try it for us. If it sounds crappy, OK, we'll lose it. But it might just sound good.' We were always pushing ahead: Louder, further, longer, more, different."
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498:". With direct input the guitar pick-up is connected to the recording console via an impedance matching DI box. Ken Townsend claimed this as the first use anywhere in the world, although
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2002/123/1 Reel-to-reel tape recorder, BTR1, metal / plastic / glass / electronic components, designed and manufactured by EMI (Electric and
Musical Industries), England, 1948...
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said that the feedback started accidentally when a guitar was placed on an amplifier but that Lennon had worked out how to achieve the effect live on stage. In
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was recording in a studio whilst "I Am the Walrus" was being mixed and the
Beatles were tempted to "nick" (steal) some of Jones's singing to put into the mix.
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access to the Abbey Road studios—they were not charged for studio time and could spend as long as they wanted working on music. Starting around 1965 with the
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In 1968 eight-track recorders became available, but Abbey Road was somewhat slow in adopting the new technology and a number of
Beatles tracks (including "
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Rigby" features just McCartney and a double string quartet that has the instruments miked so close to the string that 'the musicians were in horror'. In "
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explanation of ADT ("We take the original image and we split it through a double-bifurcated sploshing flange") given to Lennon originated the phrase
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Engineers and other Abbey Road staff have reported that the
Beatles would try to take advantage of accidental occurrences in the recording process; "
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123:-based machine. When recording on the twin-track machine there was very little opportunity for overdubbing; the recording was essentially that of a
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had the treatment and it is still widely used for instruments and voices. Nowadays, the effect is more often known as automatic double tracking.
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Although strings were commonly used on pop recordings, George Martin's suggestion that a string quartet be used for the recording of "
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Combined with this was the conscious desire to be different. McCartney said, "Each time we just want to do something different. After
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One way of increasing the number of tracks available for recording is to synchronise tape machines together. Since the early 1970s
146:") there came a change in the way recordings were made—tracks could be built up layer by layer, encouraging experimentation in the
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evolved during the 1960s and, in some cases, influenced the way popular music was recorded. Some of the effects they employed were
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The
Beatles continued to use feedback on later songs. "It's All Too Much", for instance, begins with sustained guitar feedback.
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According to Emerick, in 1966, this was considered a radically new way of recording strings; nowadays it is common practice.
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record far exceeded the bass on any Beatles records. This prompted EMI engineer Geoff Emerick to try new techniques for "
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was recorded largely at the Beatles' own Apple Studios, using borrowed REDD valve consoles from EMI after the designer
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The effect had been created "accidentally" earlier, when recording "Yesterday": loudspeakers were used to cue the
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and some of McCartney's voice was recorded onto the string track, which can be heard on the final recording.
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was mixed into the track on 29 September 1967. McCartney has also described a lost opportunity of
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582:" and the vocals on "Eleanor Rigby" for example. The technique was used later by bands like the
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More obvious, and therefore more influential samples were used on "I Am the Walrus"—a live
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was first used by the Beatles on 1 February 1967 to record McCartney's bass on "
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187:(Alex Mardas) failed to come up with a suitable desk for the studio. Engineer
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The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes
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Electronic and Experimental Music: Pioneers in Technology and Composition
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machines. They also used classical instruments on their recordings and
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Here, There and Everywhere: My Life Recording the Music of The Beatles
76:. The group's attitude towards the recording process was summed up by
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ADT greatly influenced recording—virtually all the tracks on
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states that all the takes of the song included the feedback.
615:" on 20 February 1967. To try to create the atmosphere of a
1339:"How to Sync Audio for Modern Video Production Workflows"
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About The Beatles – Songs – Lucy In The Sky With Diamonds
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1189:. New York: Black Dog & Leventhal. pp. 41, 288.
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753:" include intentional reversed vocals in Beatles songs.
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Here, there, and everywhere: the 100 best Beatles songs
468:" on 28 April 1966, McCartney said he wanted to avoid "
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195:, lacking the aggressive edge of the valve consoles.
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note produced by plucking the A-note on McCartney's
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and the Beatles saying, "No, which one's that one?"
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The success of the Beatles meant that EMI gave them
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598:The Beatles first used samples of other music on "
1974:1966 tour of Germany, Japan and the Philippines
602:", the samples being added on 1 June 1966. The
177:, rather than the earlier REDD valve consoles.
1564:The Evolution of Beatles' Recording Technology
18:The Beatles' influence on music recording
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1185:Spignesi, Stephen J.; Lewis, Michael (2004).
660:On 10 February 1967 during the recording of "
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672:synchronisation was developed around 1967.
297:, the technique would later be used by the
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166:, was the only one to be recorded using a
1567:. Northwestern University. Archived from
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756:The stereo version of George Harrison's "
726:Learn how and when to remove this message
1589:The Legendary Joe Meek - The Telstar Man
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1544:The Complete Beatles Recording Sessions
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447:The Complete Beatles Recording Sessions
1503:(First Hardback ed.). Macmillan.
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749:urban myth. However, only "Rain" and "
2419:The Beatles: The Authorised Biography
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619:, Martin first proposed the use of a
572:Sgt. Pepper's Lonely Hearts Club Band
496:Sgt. Pepper's Lonely Hearts Club Band
7:
738:As the Beatles pioneered the use of
708:adding citations to reliable sources
460:Close miking of acoustic instruments
2454:Paul McCartney: Many Years from Now
1949:The Beatles' 1964 tour of Australia
1437:(2nd rev. ed.). W. W. Norton.
1606:Ryan, Kevin; Kehew, Brian (2006).
1262:"Acme Audio Manufacturing Company"
427:, which was picked up on Lennon's
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613:Being for the Benefit of Mr. Kite
528:in 1966, during the recording of
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1546:(First Hardback ed.). EMI.
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278:" or the chaotic assemblage of "
210:List of the Beatles' instruments
107:In the early part of the 1960s,
1886:Cover versions of Beatles songs
1481:. US: Oxford University Press.
695:needs additional citations for
68:(ADT) and the elaborate use of
1926:Winter 1963 Helen Shapiro Tour
411:was used by composers such as
332:Norman Smith (record producer)
130:The first two Beatles albums,
1:
2253:34 Montagu Square, Marylebone
1610:(1st ed.). Curvebender.
2472:Apple Corps v Apple Computer
2426:The Beatles: All These Years
1891:Songs covered by the Beatles
606:solo was constructed from a
1876:Post-breakup collaborations
657:techniques had to be used.
648:Synchronising tape machines
478:Got to Get You into My Life
415:in the early 60s. Ashley's
115:was equipped with EMI-made
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2621:Sound recording technology
580:Here, There and Everywhere
522:Artificial double tracking
517:Artificial double tracking
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511:Artificial double tracking
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66:artificial double tracking
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2551:automatic double tracking
2489:The Beatles at Abbey Road
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549:It has been claimed that
464:During the recording of "
1954:1964 North American tour
1388:Editors Sync Guide (ESG)
144:I Want to Hold Your Hand
56:The studio practices of
2355:The Scotch of St. James
1921:1960 Johnny Gentle Tour
1782:More popular than Jesus
1771:North American releases
1518:Holmes, Thomas (2002).
321:Engineers and producers
312:All of the Beatles had
2616:British music industry
2559:The Beatles: Rock Band
2210:United Artists Records
1841:Awards and nominations
1698:Outline of the Beatles
776:Outline of the Beatles
524:(ADT) was invented by
348:This section is empty.
117:British Tape Recorders
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103:Abbey Road Studio Two.
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2412:The Beatles Anthology
2345:Penny Lane, Liverpool
1931:1963 Roy Orbison Tour
1803:Murder of John Lennon
1608:Recording the Beatles
1409:The Beatles Anthology
1157:Unterberger, Richie.
922:Unterberger, Richie.
835:Ryan & Kehew 2006
438:The Beatles Anthology
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2433:A Cellarful of Noise
1937:The Ed Sullivan Show
1703:The Beatles timeline
1591:. Cherry Red Books.
1561:Morin, Cari (1998).
1524:. Psychology Press.
781:The Beatles timeline
763:Magical Mystery Tour
704:improve this article
429:semi-acoustic guitar
287:You Like Me Too Much
280:Tomorrow Never Knows
148:multitrack recording
70:multitrack recording
2546:Recording practices
1411:. Chronicle Books.
1316:, pp. 122–123.
924:"Eight Days a Week"
628:BBC Third Programme
285:The Beatles' song "
160:The Beatles' album
2540:Pop Go the Beatles
2515:Global Beatles Day
2295:Casbah Coffee Club
2263:Abbey Road Studios
2258:Abbey Road, London
2248:251 Menlove Avenue
1959:1965 European tour
1898:Recording sessions
1761:At the Cavern Club
1345:. 14 December 2020
590:, amongst others.
270:"'s feedback and "
113:Abbey Road Studios
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2521:Images of a Woman
2365:St Peter's Church
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1866:Live performances
1553:978-0-600-61207-0
1510:978-0-385-31517-3
1501:A Day in The Life
1488:978-0-19-531024-5
1466:978-1-59240-269-4
1196:978-1-57912-369-7
1126:, pp. 27–28.
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506:Tape manipulation
371:Session musicians
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268:It's All Too Much
253:Eight Days a Week
16:(Redirected from
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2527:Lennon–McCartney
2447:Lennon Remembers
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2380:Strawberry Field
2340:London Palladium
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272:Long, Long, Long
248:Please Please Me
233:Paperback Writer
139:With The Beatles
133:Please Please Me
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2190:Startling Music
2160:Capitol Records
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2062:Alistair Taylor
2057:Joseph Lockwood
1996:
1992:Rooftop concert
1944:1964 world tour
1913:
1907:
1829:
1820:Religious views
1739:
1683:George Harrison
1659:
1654:
1624:
1618:
1605:
1599:
1583:
1574:
1572:
1560:
1554:
1538:
1532:
1531:978-0-415936446
1517:
1511:
1495:
1489:
1475:Everett, Walter
1473:
1467:
1451:
1445:
1425:
1419:
1403:
1399:
1394:
1390:at www.sssm.com
1386:
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1038:
1034:
1026:
1019:
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1007:
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992:
986:Hertsgaard 1995
984:
980:
972:
968:
960:
956:
948:
944:
934:
932:
921:
920:
916:
908:
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884:
880:
872:
868:
860:
856:
848:
841:
833:
829:
823:Hertsgaard 1995
821:
817:
813:at www.dhub.org
809:
805:
797:
793:
789:
772:
732:
721:
715:
712:
701:
689:
678:
676:Backwards tapes
650:
596:
519:
513:
508:
489:
462:
443:George Harrison
406:
404:Guitar feedback
401:
373:
364:
358:
355:
334:
328:
323:
307:The Moody Blues
276:I Am the Walrus
212:
206:
201:
97:
91:
86:
74:guitar feedback
34:George Harrison
23:
22:
15:
12:
11:
5:
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2461:
2460:
2458:
2457:
2450:
2443:
2436:
2429:
2422:
2415:
2407:
2405:
2404:Selected books
2401:
2400:
2398:
2397:
2395:Wigmore Street
2392:
2387:
2382:
2377:
2372:
2370:Stanley Street
2367:
2362:
2357:
2352:
2347:
2342:
2337:
2332:
2327:
2322:
2317:
2312:
2307:
2302:
2297:
2292:
2287:
2282:
2280:Beatles Ashram
2277:
2272:
2267:
2266:
2265:
2255:
2250:
2245:
2240:
2235:
2229:
2227:
2221:
2220:
2218:
2217:
2212:
2207:
2205:United Artists
2202:
2200:Tollie Records
2197:
2192:
2187:
2182:
2177:
2175:Northern Songs
2172:
2167:
2162:
2157:
2152:
2146:
2144:
2138:
2137:
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2110:
2105:
2100:
2095:
2090:
2084:
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2078:
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2075:
2074:
2072:Allan Williams
2069:
2064:
2059:
2054:
2049:
2044:
2039:
2034:
2029:
2024:
2019:
2013:
2011:
2004:
1998:
1997:
1995:
1994:
1989:
1981:
1976:
1971:
1966:
1961:
1956:
1951:
1946:
1941:
1933:
1928:
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1822:
1817:
1812:
1805:
1800:
1795:
1790:
1785:
1778:
1773:
1768:
1766:Decca audition
1763:
1758:
1753:
1747:
1745:
1741:
1740:
1738:
1737:
1732:
1727:
1725:Norman Chapman
1722:
1717:
1712:
1706:
1705:
1700:
1694:
1693:
1686:
1679:
1676:Paul McCartney
1672:
1664:
1661:
1660:
1655:
1653:
1652:
1645:
1638:
1630:
1623:
1622:
1616:
1603:
1597:
1581:
1558:
1552:
1540:Lewisohn, Mark
1536:
1530:
1515:
1509:
1493:
1487:
1471:
1465:
1453:Emerick, Geoff
1449:
1443:
1427:Davies, Hunter
1423:
1417:
1400:
1398:
1395:
1393:
1392:
1380:
1378:, p. 154.
1368:
1356:
1343:No Film School
1330:
1318:
1306:
1295:
1278:
1253:
1241:
1229:
1217:
1215:, p. 127.
1202:
1195:
1177:
1149:
1128:
1116:
1114:, p. 159.
1104:
1102:, p. 157.
1092:
1080:
1068:
1056:
1054:, p. 197.
1044:
1042:, p. 175.
1032:
1017:
1005:
1003:, p. 342.
990:
988:, p. 103.
978:
966:
964:, p. 346.
954:
952:, p. 347.
942:
914:
912:, p. 300.
902:
890:
888:, p. 100.
878:
876:, p. 277.
866:
864:, p. 146.
854:
839:
837:, p. 216.
827:
815:
803:
790:
788:
785:
784:
783:
778:
771:
768:
751:Free as a Bird
734:
733:
692:
690:
683:
677:
674:
654:SMPTE timecode
649:
646:
595:
592:
588:Iron Butterfly
544:string quartet
515:Main article:
512:
509:
507:
504:
488:
485:
461:
458:
409:Audio feedback
405:
402:
400:
397:
372:
369:
366:
365:
346:
344:
330:Main article:
327:
324:
322:
319:
295:Leslie speaker
291:Leslie speaker
229:Wilson Pickett
205:
202:
200:
197:
171:mixing console
168:transistorised
93:Main article:
90:
87:
85:
82:
78:Paul McCartney
52:11 August 1964
38:Paul McCartney
24:
14:
13:
10:
9:
6:
4:
3:
2:
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2478:Apple scruffs
2476:
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2341:
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2328:
2326:
2325:The Jacaranda
2323:
2321:
2320:Comiskey Park
2318:
2316:
2313:
2311:
2308:
2306:
2305:Carnegie Hall
2303:
2301:
2298:
2296:
2293:
2291:
2288:
2286:
2285:Beatles-Platz
2283:
2281:
2278:
2276:
2273:
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2268:
2264:
2261:
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2259:
2256:
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2181:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2161:
2158:
2156:
2155:Apple Records
2153:
2151:
2148:
2147:
2145:
2139:
2129:
2126:
2124:
2121:
2119:
2118:Tony Sheridan
2116:
2114:
2111:
2109:
2108:Billy Preston
2106:
2104:
2103:Phil McDonald
2101:
2099:
2098:George Martin
2096:
2094:
2091:
2089:
2088:Geoff Emerick
2086:
2085:
2083:
2079:
2073:
2070:
2068:
2065:
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2060:
2058:
2055:
2053:
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2048:
2045:
2043:
2040:
2038:
2035:
2033:
2032:Brian Epstein
2030:
2028:
2025:
2023:
2020:
2018:
2017:Neil Aspinall
2015:
2014:
2012:
2008:
2005:
2003:
1999:
1993:
1990:
1988:
1986:
1982:
1980:
1977:
1975:
1972:
1970:
1967:
1965:
1962:
1960:
1957:
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1947:
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1774:
1772:
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1764:
1762:
1759:
1757:
1754:
1752:
1751:The Quarrymen
1749:
1748:
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1736:
1733:
1731:
1728:
1726:
1723:
1721:
1718:
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1666:
1665:
1662:
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1646:
1644:
1639:
1637:
1632:
1631:
1628:
1619:
1617:0-9785200-0-9
1613:
1609:
1604:
1600:
1598:1-901447-20-0
1594:
1590:
1586:
1582:
1571:on 2006-07-02
1570:
1566:
1565:
1559:
1555:
1549:
1545:
1541:
1537:
1533:
1527:
1523:
1522:
1516:
1512:
1506:
1502:
1498:
1494:
1490:
1484:
1480:
1476:
1472:
1468:
1462:
1458:
1454:
1450:
1446:
1444:0-393-31571-1
1440:
1435:
1434:
1428:
1424:
1420:
1418:0-811-82684-8
1414:
1410:
1406:
1402:
1401:
1396:
1389:
1384:
1381:
1377:
1372:
1369:
1366:, p. 96.
1365:
1364:Lewisohn 1988
1360:
1357:
1344:
1340:
1334:
1331:
1327:
1326:Lewisohn 1988
1322:
1319:
1315:
1310:
1307:
1304:
1299:
1296:
1293:, p. 70.
1292:
1291:Lewisohn 1988
1287:
1285:
1283:
1279:
1267:
1263:
1257:
1254:
1250:
1245:
1242:
1239:, p. 95.
1238:
1237:Lewisohn 1988
1233:
1230:
1226:
1221:
1218:
1214:
1209:
1207:
1203:
1198:
1192:
1188:
1181:
1178:
1166:
1165:
1160:
1159:"I Feel Fine"
1153:
1150:
1138:
1132:
1129:
1125:
1120:
1117:
1113:
1108:
1105:
1101:
1096:
1093:
1090:, p. 57.
1089:
1084:
1081:
1078:, p. 11.
1077:
1076:Lewisohn 1988
1072:
1069:
1066:, p. 56.
1065:
1060:
1057:
1053:
1048:
1045:
1041:
1036:
1033:
1030:, p. 50.
1029:
1028:Lewisohn 1988
1024:
1022:
1018:
1015:, p. 72.
1014:
1013:Lewisohn 1988
1009:
1006:
1002:
997:
995:
991:
987:
982:
979:
976:, p. 51.
975:
970:
967:
963:
958:
955:
951:
946:
943:
931:
930:
925:
918:
915:
911:
906:
903:
900:, p. 74.
899:
898:Lewisohn 1988
894:
891:
887:
886:Lewisohn 1988
882:
879:
875:
870:
867:
863:
862:Lewisohn 1988
858:
855:
852:, p. 54.
851:
850:Lewisohn 1988
846:
844:
840:
836:
831:
828:
825:, p. 75.
824:
819:
816:
812:
807:
804:
801:, p. 13.
800:
799:Lewisohn 1988
795:
792:
786:
782:
779:
777:
774:
773:
769:
767:
765:
764:
759:
754:
752:
748:
743:
742:
730:
727:
719:
709:
705:
699:
698:
693:This section
691:
687:
682:
681:
675:
673:
669:
667:
663:
658:
655:
647:
645:
643:
639:
638:live sampling
635:
634:
630:broadcast of
629:
624:
622:
618:
614:
609:
605:
601:
593:
591:
589:
585:
584:Grateful Dead
581:
576:
574:
573:
568:
563:
560:
556:
552:
551:George Martin
547:
545:
540:
537:
533:
532:
527:
523:
518:
510:
505:
503:
501:
497:
493:
486:
484:
481:
479:
473:
471:
467:
466:Eleanor Rigby
459:
457:
454:
452:
451:Mark Lewisohn
448:
444:
440:
439:
434:
430:
426:
422:
418:
414:
413:Robert Ashley
410:
403:
398:
396:
392:
388:
386:
380:
378:
370:
362:
353:
349:
345:
342:
338:
337:
333:
325:
320:
318:
315:
310:
308:
304:
300:
299:Grateful Dead
296:
292:
288:
283:
281:
277:
273:
269:
265:
260:
258:
254:
249:
244:
242:
238:
234:
230:
225:
224:
219:
218:
217:carte blanche
211:
203:
198:
196:
194:
190:
189:Geoff Emerick
186:
182:
181:
176:
172:
169:
165:
164:
158:
156:
151:
149:
145:
141:
140:
135:
134:
128:
127:performance.
126:
122:
118:
114:
110:
101:
96:
88:
83:
81:
79:
75:
71:
67:
63:
59:
51:
47:
46:George Martin
43:
39:
35:
31:
27:
19:
2557:
2545:
2538:
2533:Paul is dead
2519:
2510:Fifth Beatle
2487:
2470:
2464:Other topics
2452:
2445:
2438:
2431:
2424:
2417:
2410:
2390:Top Ten Club
2360:Shea Stadium
2350:3 Savile Row
2330:Kaiserkeller
2315:Cavern Mecca
2195:Swan Records
2128:Norman Smith
2123:Phil Spector
2093:Richard Lush
2067:Derek Taylor
1984:
1979:1966 US tour
1969:1965 UK tour
1964:1965 US tour
1936:
1914:performances
1807:
1735:Jimmie Nicol
1688:
1681:
1674:
1667:
1607:
1588:
1585:Repsch, John
1573:. Retrieved
1569:the original
1563:
1543:
1520:
1500:
1478:
1456:
1432:
1408:
1397:Bibliography
1383:
1376:Emerick 2006
1371:
1359:
1349:29 September
1347:. Retrieved
1342:
1333:
1328:, p. 8.
1321:
1314:Emerick 2006
1309:
1298:
1271:29 September
1269:. Retrieved
1265:
1256:
1244:
1232:
1220:
1213:Emerick 2006
1186:
1180:
1168:. Retrieved
1162:
1152:
1141:. Retrieved
1131:
1119:
1112:Emerick 2006
1107:
1100:Emerick 2006
1095:
1088:Emerick 2006
1083:
1071:
1064:Emerick 2006
1059:
1047:
1035:
1008:
1001:Everett 2009
981:
974:Everett 2009
969:
962:Everett 2009
957:
950:Everett 2009
945:
933:. Retrieved
927:
917:
905:
893:
881:
874:Emerick 2006
869:
857:
830:
818:
806:
794:
761:
758:Blue Jay Way
755:
747:Paul is Dead
739:
737:
722:
716:October 2015
713:
702:Please help
697:verification
694:
670:
659:
651:
637:
631:
625:
597:
577:
570:
566:
564:
548:
541:
536:double track
529:
526:Ken Townsend
520:
492:Direct input
490:
487:Direct input
482:
474:
463:
455:
446:
436:
433:Andy Peebles
416:
407:
393:
389:
381:
374:
356:
352:adding to it
347:
326:Norman Smith
311:
309:and others.
284:
261:
247:
245:
221:
215:
213:
192:
178:
161:
159:
152:
137:
131:
129:
106:
55:
26:
2483:Beatle boot
2440:I, Me, Mine
2270:Ad Lib Club
2150:Apple Corps
2052:Allen Klein
2047:Freda Kelly
2027:Peter Brown
2022:Tony Barrow
1987:performance
1939:appearances
1861:Instruments
1851:Discography
1776:Beatlemania
1730:Tommy Moore
1690:Ringo Starr
1669:John Lennon
1657:The Beatles
1433:The Beatles
1405:The Beatles
1249:Repsch 1989
1124:Holmes 2002
910:Davies 1996
425:bass guitar
417:The Wolfman
264:I Feel Fine
237:loudspeaker
223:Rubber Soul
204:The Beatles
175:EMI TG12345
58:the Beatles
50:EMI Studios
42:John Lennon
2605:Categories
2572:The Rutles
2500:Beat music
2495:Beatlesque
2290:Blue Angel
2224:Associated
2180:Parlophone
2170:Harrisongs
2141:Associated
2081:Production
2042:Dick James
2010:Management
1871:Performers
1756:In Hamburg
1720:Chas Newby
1225:Morin 1998
1143:2008-12-19
787:References
642:Paul Jones
604:brass band
399:Techniques
359:April 2021
241:microphone
208:See also:
193:Abbey Road
185:Magic Alex
163:Abbey Road
125:live music
2375:Star-Club
2143:companies
2113:Ken Scott
2037:Mal Evans
2002:Personnel
1985:Our World
1912:Tours and
1809:Anthology
1788:In Bangor
1715:Pete Best
1170:7 October
1137:"Wolfman"
935:7 October
760:" (1967,
666:pilottone
633:King Lear
377:Yesterday
199:Personnel
180:Let It Be
150:process.
2590:Category
2335:Kinfauns
1903:Tributes
1846:Bootlegs
1825:Timeline
1815:Line-ups
1798:Break-up
1793:In India
1587:(1989).
1575:31 March
1542:(1988).
1499:(1995).
1477:(2009).
1455:(2006).
1429:(1996).
1407:(2000).
1164:AllMusic
929:AllMusic
770:See also
621:calliope
594:Sampling
567:Revolver
559:flanging
531:Revolver
500:Joe Meek
441:series,
421:feedback
155:Hey Jude
62:sampling
2185:Seltaeb
1744:History
470:Mancini
314:Brenell
266:" and "
84:Studios
2226:places
1614:
1595:
1550:
1528:
1507:
1485:
1463:
1441:
1415:
1193:
617:circus
173:, the
2565:songs
1881:Songs
1856:Films
1834:Lists
608:Sousa
303:Cream
257:Julia
239:as a
121:valve
44:with
1612:ISBN
1593:ISBN
1577:2008
1548:ISBN
1526:ISBN
1505:ISBN
1483:ISBN
1461:ISBN
1439:ISBN
1413:ISBN
1351:2021
1273:2021
1266:Acme
1191:ISBN
1172:2020
937:2020
586:and
569:and
385:oboe
136:and
40:and
2165:EMI
706:by
553:'s
354:.
282:".
111:'s
109:EMI
48:at
2607::
1341:.
1281:^
1264:.
1205:^
1161:.
1020:^
993:^
926:.
842:^
449:,
305:,
301:,
64:,
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1649:e
1642:t
1635:v
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