Įngineers and other Abbey Road staff have reported that the Beatles would try to take advantage of accidental occurrences in the recording process " I Feel Fine" and " It's All Too Much"'s feedback and " Long, Long, Long"'s resonating glass bottle (towards the end of the track) are examples of this. 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. Also overdubbed vocals were used for new artistic purposes on " Julia" with John Lennon overlapping the end of one vocal phrase with the beginning of his next. Paul McCartney would create more sophisticated bass lines by overdubbing in counterpoint to Beatles tracks that were previously completed. 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 " Eight Days a Week" even at this relatively early date, the track begins with a gradual fade-in, a device which had rarely been employed in rock music.
After Please Please Me we decided we must do something different for the next song. McCartney said, "Each time we just want to do something different. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current." Ĭombined with this was the conscious desire to be different. Then we boosted it further by using a loudspeaker as a microphone.
To get the loud bass sound Paul played a different bass, a Rickenbacker. He explains that the song "was the first time the bass sound had been heard in all its excitement. This prompted EMI engineer Geoff Emerick to try new techniques for " Paperback Writer". The Beatles demanded a lot from the studio Lennon allegedly wanted to know why the bass on a certain Wilson Pickett record far exceeded the bass on any Beatles records. Starting around 1965 with the Rubber Soul sessions, the Beatles increasingly used the studio as an instrument in itself, spending long hours experimenting and writing. The success of the Beatles meant that EMI gave them carte blanche access to the Abbey Road studios-they were not charged for studio time and could spend as long as they wanted working on music. See also: List of the Beatles' instruments Engineer Geoff Emerick has said that the transistorised console played a large part in shaping overall sound of Abbey Road, lacking the aggressive edge of the valve consoles. Let It Be was recorded largely at the Beatles' own Apple Studios, using borrowed REDD valve consoles from EMI after the designer Magic Alex (Alex Mardas) failed to come up with a suitable desk for the studio. The Beatles' album Abbey Road, was the only one to be recorded using a transistorised mixing console, the EMI TG12345, rather than the earlier REDD valve consoles. 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 " Hey Jude") were recorded in other studios in London to get access to the new eight-track recorders. The first two Beatles albums, Please Please Me and With The Beatles, were recorded on the BTR two-track machines with the introduction of four-track machines in 1963 (the first 4-track Beatles recording was " I Want to Hold Your Hand" ) there came a change in the way recordings were made-tracks could be built up layer by layer, encouraging experimentation in the multitrack recording process. When recording on the twin-track machine there was very little opportunity for overdubbing the recording was essentially that of a live music performance. The BTR was a twin-track, valve-based machine. In the early part of the 1960s, EMI's Abbey Road Studios was equipped with EMI-made British Tape Recorders (BTR) which were developed in 1948, as copies of German wartime recorders.
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