The Beatles Production and
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- Опубліковано 12 жов 2024
- Here's the 20th episode of Gear, There and Everywhere, a new podcast featuring some of your favorite Beatles enthusiasts:
Paul of Guitar Gear Connection: / @guitargearconnection
Sam Popkin: / @sampopkin
Ryan Martin: / @manwithnoexpression
Dom Rossi: / @drguitar918
Michael Sokil: / @michaelsokil
In this episode we discuss the production and recording techniques of the Beatles with Clay Blair, as well as learning about his recording studio, Boulevard Recording!
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I remember watching how to get the bass tone for 1967 onwards a few years back and it still is one of my favorite videos, Clay!
That’s a great one!
Yep same here. Loved this episode
I haven't seen that. Can't find it either. I'm desperate to find that perfect McCartney bass sound.
Any idea if it's still up?
@@barker_ ua-cam.com/video/a59hpDjszH4/v-deo.htmlfeature=shared
@@barker_ This is the one. If the link does not work the video is titled "How The Beatles Recorded Bass in 1967"
ua-cam.com/video/a59hpDjszH4/v-deo.html
MORE CLAY, MORE!
He said the A Day in Life orchestra was recorded to one track of the 4-track which is incorrect. They did 3 orchestra overdubs to a second tape and then played both tapes in sync for the mixes. That was the ONLY Pepper track they did that the others were just 4-track and bounces.
58 minutes the guy talked about getting the balance right on the 2-tracks where all the instruments are locked down. I've figured out that using the brilliance box and the desk's bass/treble you can slightly adjust the apparent loudness of the electric guitars versus the bass guitar versus the snare versus the cymbals basically with those EQ points. So, during mixing it could be used as a hack to get around the single instrumental track limitation. The EMI engineers were very, very smart
I love the extreme Beatles nerding out. Endlessly fascinating.
Best beatle podcast ever. Fuc$ unreal
Great that you're having guests on this. I hope you guys can put your feelers out and get some more. I'd be happy to listen to anyone that has an opinion but I'd have thought that Mark Benson would be really entertaining.
Ask and ye shall receive!
@@GearThereEverywhere I'd have thought that Paul McCartney would be really entertaining.
30:18 , profound point about today’s recording culture and its relationship with creativity. What a fantastic interview by an inspiring bunch! Clay is awesome!
By the way the quickest way to replicate the EMI sound is to use the "brilliance box" EQ points. You simplify add those to your parametric virtual knobs you dont need to buy the plugins. After that add a layer of multibrand compression across the mix and you are good.
What a fantastic video have a wonderful weekend ❤❤❤❤❤❤😊😊😊😊😊😊
Thanks, you too!
You guys are super cool too thanks for doing the stuff that you're doing
Very cool and informative. Thanks!
Glad you enjoyed it!
I usually like the mono versions of those early records you guys mentioned I saw her standing there, you can hear John and George very clearly on the Mono mix, on the 2023, they get way pushed down in the mix. I also still like the MONO taxman better than that new 2022 version, if you want to hear Bass or Vocals better the newer mixes work, but overall the old MONO's seem to work better to my ears. You also mentioned them not having reverb at EMi, they had something/Chamber, because George's guitar on I saw her has definite reverb on the MONO. Vox AC30's did not have Reverbs, so it had to be studio added for sure.
Very glad Blair Exists. Very few people carrying the torch of Beatles RECORDING to a new generation(s) - with accurate gear and techniques and all.
Boulevard burning was a Catastrophe. Every item must be replaced, if it hasn't already. Keep the GoFundMe going as long as is necessary.
@1:24:18 the topic turns to the distorted tones on the roof. theres one instance to me that almost sounds like a pedal getting kicked on. i think its the 1st run-thru @ "get back" john's a little tardy with his fab live solo & during his composure adjust hes comping on the 1 & setting himself up for the solo when his volume & distortion level see a big spike, almost as if hes stepping on a pedal or maybe Ken?. jwl probably couldnt see a pedal, much less the settings on the controls.
but yeah its a sudden up-shift in dynamics & volume & ive often wondered what triggers it..
I forget what video I saw it on, but someone on YT was able to recreate the Let It Be Distortion by putting a fuzz face into a twin. I’m guessing that’s the sound we’re hearing on the rooftop.
Ringos drums especially the snare sound so good on Ticket to Ride to me is just fantastic. I don’t know how many and what kind of mic’s were used?
Re Beatles Remixes: They're all great (and let us not forget that they are Chiefly the work of engineer Sam Okell at Abbey Road, with Giles Martin sort of supervising).
The 2018 White Album is a top candidate for the Best-Sounding Record Ever; Okell stayed true to the original sonics (mid-rangey, somewhat low-passed but still with Miles of presence and air, etc.), but made some sensible changes such as centering the drums, and souping up the low end just enough - didn't go overboard in the modern fashion, with Bottomless bass, which can sound interesting at first, but is unnecessary and abstracts the music away from its original intent.
He and martin also Added, boldly, some purely aesthetic flourishes that came off as totally winning - e.g., using real ADT to breathe new stereo life and increased size into guitar and piano tracks (the intros of Sexy Sadie and Dear Prudence, the grinding - and now Double-tracked - mean guitars on Helter Skelter, et al.), as well as vocals and drums.
All in all, the remixes up through Abbey Road (2019) are extremely Tastefully-done.
On Revolver, however, the so-called "A.I." - which is just a very nice algorithmic cousin of Ozone's RX technology - while helpful (and indeed Necessary for teasing out and isolating elements from "reduction mixes," as ping-pong bounces were called at Abbey Road), was seemingly slightly misused, as was discussed in this video. One can almost sense the extracted, rebalanced sounds being sort of superimposed on the mix. This effect is most apparent with drums.
And rather than improving their command of the newish technology, having had another year to grapple with it, Okell and Martin seemed to go further astray on the 2023 remixes - which, as the presenter noted, have a kind of Disaggregated feel to them, but also do sound improved in certain ways.
The main problem, it seems, is still the drums. Granted, it's hard to pull apart individual drums that have been squashed together through Fairchilds (though the task of doing so - on a Beatles record, no less - is a fun assignment for any mixer). Nevertheless, on most of the 2023 remixes, a little surgical, and tastefully Minimal, EQ would likely have gone a long way. On many songs, the kick, in particular, has an unflattering tubbiness when it's raised in the mix on its own track - whereas, in the orignal mix, it sounded fine and actually Needed those built-up frequencies to be felt (and ususally not so much Heard) sitting at a lower level in the sonic picture.
This is a fine point, perhaps, but not merely a quibble, as the new rmixes are meant to stand as Definitive Versions.
Incredible insight here, guys! It certainly helps too that Clay is so sexy!
Well beyond my understanding could you very interesting to listen to you guys talk about it.... I don't know what the taped two microphones are all about I don't know if you guys touched on that
During the Jan 1969 rehearsals? I believe one mic went to the PA and the other to the film crew's Nagra tape recorders.
cool
this guy is cool
Lol that guy has zero personality. He must be fun at parties 😂😂😂🎉