Learn more about Abbey Road Chambers and S. Tags View All. Recent Videos. I wasn't saying don't try and emulate The Beatles, in fact just the opposite, what I was saying learn what The Beatles used and learn the tricks The Beatles used. Don't rely on a plugin to turn you into something you are not and possibly never will be.
Peace Ben "I write mathmatical songs" Bob Dylan. Ben, I think you went a little nuts there. Hundreds of musicians have created good sounds over the years that are used in different arrangements and settings by others, and usually tweaked until they have a very distinct personality. We all contribute to the body of work from which others draw.
I cannot count how many times I have been in a studio as a player and heard "Give us a little Jerry Lee Lewis piano" or "can you get a Cream Sunshine sound" or whatever. The tracks sounded nothing like songs or arrangements by those artists.
My favorite sound on the Fab Four collection happens to be an acoustic guitar that I use for country tracks. The Ticket to Ride guitar is the same sound the Byrds used on several tracks, so either they or the Beatles were copycats. Finally, if you ever heard the music I write, you would not think i am copying anyone. This forum is getting too emotional for me. You have miss read what I have said and your absolutly right, everyone steals from everyone the greats hide it better. I bet I could pick where you have stolen stuff from.
The Ticket to Ride guitar sound I am doubtful not saying you are wrong. I am trying to remember my Beatle history. That sound came about when George got his first Rickenbacker remember the Rickenbacker George was using in 65 was a elec 12 string, not sure about Johns as a endorsement deal and I think this was the end of I read this in a book a couple of weeks ago.
So this makes your statement about the Byrds coming up with that sound doubtful and I have read many times RMcG say he stole that sound from The Beatles.
So in conclusion I think the evidence suggests that it was The Beatles who came up with the Ticket To Ride sound because they had the Rickenbacker 12 strings before anyone else but The Beatles stole from everybody else, from Buddy Holly, Bo Diddly, Jerry Lee and a plethhora of others perhaps the most important person they stole from was Beethoven.
Lucy In The Sky as an example and of course Because. Oh and don't forget Timothy Leary use to like claiming he came up parts of lyrics of Come Together.
So don't get to emotional, get promotional!! Good dialog, Ben. This conversation is coming at a funny time because I am about to release an album that is so different that I can't decide if it will be loved, hated, or ignored. It is not different in a weird, bizarre way at all--just not really like anything else.
I'll send you a link in a couple of months or so. By the way, I was at a Beatles concert when I was a little kid. It was an experience that will never be recreated. Stay logged in. All else is in doubt, so this is the truth I cling to. My Stuff 8. Keni Max Output Level: Don't forget to tip the guy at the piano.
Sidroe Max Output Level: My Stuff John T Max Output Level: They did much less multitracking then you would imagine. They typically played the music as they sang their parts is a sparse version of the song then layered additional parts over it including leads and backing vocals. Its pretty weird hearing some of those songs without all that stuff layered in and you get to hear the raw talent of them playing together.
All of it had dry vocals by the way. Any echo or verbs were added later when mixing except for maybe the ones they did on the roof top. You'd think playing outside would have more echo but its actually the opposite.
You need walls to reflect the sound back and there aren't many walls on an open roof. If you had boundary mics to capture the sound bouncing off other buildings like the Video captured from the street shots you could mix that in with the close miced stuff pumped through a mixer to the studio below. Those live songs were actually pretty dry sounding when you listen closely. In the opening two words, any reverb tail even a short one would be pretty easy to spot in between "hey" and "jude".
Sounds very dry, and no obvious large live room sound either, though I'd need to listen in the studio to be sure. Actually, there are a ton of gaps, and short word endings "start" where there is zero additional decay; so definitely no reverb on the lead vocal. And this is why we still talk about them and dissect everything they did more than 50 years later. Cool to see Ringo, George and John especially John really getting into it and singing along. Steve And Yoko. These guys had a lot of charisma, Ringo has the happiest smile on his face around There are a lot of different edits of this online.
One version has them jamming to some old nostalgic tune at the start. George Harrison, wildly enthusiastic, sharing his thoughts at length with a polite George Martin. And there is a "remastered" version, where someone took artistic license and added a lot of reverb.
Also you can tell which take was the Keeper - there is a very funny bit of trivia about the actual take. And as Paul Counted in what turned out to be the Keeper Ringo couldn't hold it in anymore and ran to the Bathroom. He came out, sat down at just about 8 beats before the drums came in. Both Paul and Ringo have commented on how serendipitous this was - and all 4 Beatles have said that happy accidents were a big part of discovering new sounds. Share 12th February Dr. He liked them dry as a bone.
As opposed to Lennon, who increasingly loved what he called "Elvis echo" on his vocals. It's so awesome. After trying to recreate it unsuccessfully, I really think so much of it is the voice. It's an incredibly wonderful sound that comes out of Paul's mouth. So smooth, rich, open, dynamic, nuanced and expressive. Def dry but you do hear the room a little bit in the voice. In a small dead studio, you have to add a tiny bit of ambience to match. Obviously no delay.
If you have a bigger room, this won't be necessary. I know pultec style eqs but not actual pultecs were used to brighten this entire track up including the vocs.
It sounds bright but not harsh. The closest I got was boosting 10k on real pultec and pulling 16k down. It sounded pretty close actually kind of but I'm no Paul McCartney to say the least Others have pointed out if you listen to The Fool on the Hill, She's Leaving home or For no-one, all dry u47 you can hear the clear difference between the 67 on Hey Jude.
All sound awesome. The 67 is so clear and bright yet full though. You are aiming high. Buying one today is an almost impossible endeavour, but fortunately for us, Chandler Limited released a preamplifier based on the REDD. If you don't want to splurge, but you're still looking for that kind of sound, Waves' REDD plugin emulates the tonal qualities of the console and includes its famous EQ. Another option is the Softube Abbey Road Studios Brilliance Pack , which includes emulations of Abbey Road's outboard EQ units often used to bring higher frequencies out in vocal takes.
But what if you want the cleaner and rounder sound of the later Abbey Road album? It replaced the vacuum tubes for the solid-state technology and had 24 microphone and eight tape inputs. These improvements, combined with new tape machines, allowed The Beatles to record in eight tracks, instead of the four used before. The TG's characteristic sound can be heard in songs like "Something" and "Don't Let Me Down," timeless songs that helped give the console its historic significance.
Chandler Limited has been releasing gear based on this console over the past few years. If you have more space, or prefer them in the rack format, there's good news too: Curve Bender and Zener Limiter are based on the console's EQ and limiter, respectively, bringing modern improvements and making both units much more versatile than their predecessors.
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