George Harrison, Paul McCartney and John Lennon with George Martin at EMI Studios circa 1966
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The studio practices of the Beatles evolved during the 1960s, and in some cases, influenced the way popular music was recorded. Some of the effects they employed were sampling, artificial double tracking (ADT) and the elaborate use of multitrack recording machines. They also used classical instruments on their recordings and guitar feedback. The group's attitude toward the recording process was summed up by Paul McCartney: '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.'[1]
- 1Studios
- 2Personnel
- 3Techniques
- 3.4Tape manipulation
Studios[edit]
EMI (Abbey Road)[edit]
Abbey Road Studio Two.
- As author, recording engineer and musician Jerry Hammack says in the introduction to his book: “If you have read Volume 1 of The Beatles Recording Reference Manual, you will understand that the goal of these books is a straightforward one; to document the creation of The Beatles’ catalogue of recorded work – from first take to final remix.
- Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums Brian; Ryan, Kevin (The Beatles) Kehew on Amazon.com.FREE. shipping on qualifying offers. A detailed look at every piece of studio gear used, full explanations of effects and recording processes.
In the early part of the 1960s, EMI's Abbey Road Studios was equipped with EMI-made British Tape Recorders (BTR)[2] which were developed in 1948, as copies of German wartime recorders. The BTR was a twin-track, valve-based machine. 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 first two Beatles albums, Please Please Me and With The Beatles, were recorded on the BTR two track machines;[3] with the introduction of four-track machines in 1963 (the first 4-track Beatles recording was 'I Want to Hold Your Hand'[4]) 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.[5]
Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums by Brian; Ryan, Kevin (The Beatles) Kehew PDF, ePub eBook D0wnl0ad A detailed look at every piece of studio gear used, full explanations of effects and recording processes, and an inside look at how specific songs were recorded. This set is a must. BTW, you can open, rotate and crop each of these PDFs in Photoshop, then use Acrobat Pro to merge them all into a single PDF. If you need it, a demo of the new Adobe CS5 Suite is.
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.[6]
The Beatles' final album Abbey Road, was the only one to be recorded using a transistorisedmixing console, the EMI TG12345, rather than the earlier REDD 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. 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.[7]
Other[edit]
Personnel[edit]
The Beatles[edit]
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[8] and could spend as long as they wanted working on music. 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.[5] 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. This prompted EMI engineer Geoff Emerick to try new techniques for 'Paperback Writer'. 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 loudspeaker as a microphone. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current.' [9]
Combined with this was the conscious desire to be different. McCartney said, 'Each time we just want to do something different. After Please Please Me we decided we must do something different for the next song.. Why should we ever want to go back? That would be soft.'[10] 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.[11] Paul McCartney would create more sophisticated bass lines by overdubbing in counterpoint to Beatles tracks that were previously completed.[12] 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.[13] 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.[14][additional citation(s) needed][clarification needed]
Engineers 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.[15] 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 'I Am the Walrus' or the chaotic assemblage of 'Tomorrow Never Knows'.
The Beatles' song 'You Like Me Too Much' has one of the earliest examples of this technique:[clarification needed] the Beatles recorded the electric piano through a Hammond B-3's rotating Leslie speaker, 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.)[citation needed] Also on 'Tomorrow Never Knows' the vocal was sent through a Leslie speaker. Although it's not the first recorded vocal use of a Leslie speaker, the technique would later be used by the Grateful Dead, Cream, The Moody Blues and others.[16]
All of the Beatles had Brenell tape recorders at home,[17] which allowed them to record out 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'.[17]
Engineers and producers[edit]
Session musicians[edit]
Although strings were commonly used on pop recordings, George Martin's suggestion that a string quartet be used for the recording of 'Yesterday' 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.[18]
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 oboe and the Beatles saying, 'No, which one's that one?'[19]
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'.[20] Similarly, Paul McCartney recalled a large 'Pop/Classical' switch on the mixing console.[21] Emerick also 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.[22]
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).[23] However, Emerick also saw a change in 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.[24]
Techniques[edit]
Guitar feedback[edit]
Audio feedback was used by composers such as Robert Ashley in the early 60s.[25] Ashley's The Wolfman, which uses feedback extensively, was composed early in 1964, though not heard publicly until the autumn of that year.[26] In the same year as Ashley's feedback experiments, The Beatles song 'I Feel Fine', recorded on 18 October, starts with a feedback note produced by plucking the A-note on McCartney's bass guitar, which was picked up on Lennon's semi-acoustic guitar. 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.[27] Speaking in one of his last interviews — with the BBC's Andy Peebles — Lennon said this was the first intentional use of feedback on a music record. In The Beatles Anthology series, George Harrison 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 The Complete Beatles Recording Sessions, Mark Lewisohn states that all the takes of the song included the feedback.[28]
The Beatles continued to use feedback on later songs. 'It's All Too Much', for instance, begins with sustained guitar feedback.[citation needed]
Close miking of acoustic instruments[edit]
During the recording of 'Eleanor Rigby' on 28 April 1966, McCartney said he wanted to avoid 'Mancini' 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.[29]
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 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 'Got to Get You into My Life', the brass were miked in the bells of their instruments then put through a Fairchild limiter.[30]
According to Emerick, in 1966, this was considered a radically new way of recording strings; nowadays it is common practice.[29]
Direct input[edit]
Direct input was first used by the Beatles on 1 February 1967 to record McCartney's bass on 'Sgt. Pepper's Lonely Hearts Club Band'. 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,[31] although Joe Meek, an independent producer from London, is known to have done it earlier (early 1960s)[32] 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.[citation needed]
Tape manipulation[edit]
Artificial double tracking[edit]
Artificial double tracking (ADT) was invented by Ken Townsend in 1966, during the recording of Revolver.[33] With the advent of four-track recordings, it became possible to double track vocals whereby the performer sings along with his or her 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 trying evening of double tracking vocals, Townsend 'had an idea' while driving home one evening hearing the sound of the car in front.[33] 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.
The effect had been created 'accidentally' earlier, when recording 'Yesterday': loudspeakers were used to cue the string quartet and some of McCartney's voice was recorded onto the string track, which can be heard on the final recording.
It has been claimed that George Martin's pseudoscientific explanation of ADT ('We take the original image and we split it through a double-bifurcated sploshing flange')[34] given to Lennon originated the phrase flanging in recording, as Lennon would refer to ADT as 'Ken's flanger', although other sources[35] 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.
ADT greatly influenced recording—virtually all the tracks on Revolver and Sgt. Pepper's Lonely Hearts Club Band had the treatment and it is still widely used for instruments and voices. Nowadays, the effect is more often known as automatic double tracking.
![Beatles recording sessions pdf Beatles recording sessions pdf](/uploads/1/2/4/8/124853535/276031908.jpg)
ADT can be heard on the lead guitar on 'Here, There and Everywhere' and the vocals on 'Eleanor Rigby' for example. The technique was used later by bands like the Grateful Dead and Iron Butterfly, amongst others.[16]
Sampling[edit]
The Beatles first used samples of other music on 'Yellow Submarine', the samples being added on 1 June 1966. The brass band solo was constructed from a Sousa 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.[36]
A similar technique was used for 'Being for the Benefit of Mr. Kite' on 20 February 1967. To try to create the atmosphere of a circus, Martin first proposed the use of a calliope (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.
More obvious, and therefore more influential samples were used on 'I Am the Walrus'—a live BBC Third Programme broadcast of King Lear was mixed into the track on 29 September 1967. McCartney has also described[37] a lost opportunity of live sampling: the EMI studio was set up in such a way that the echo track from the echo chamber could be picked up in any of the control rooms. Paul Jones 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.
Synchronising tape machines[edit]
One way of increasing the number of tracks available for recording is to synchronise tape machines together. Since the early 1970s SMPTE timecode 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.[citation needed] However, in 1967, SMPTE timecode was not available and other techniques had to be used.
On 10 February 1967 during the recording of 'A Day in the Life', 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.[38] Townsend thereby effectively used pilottone, 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.[39]
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[citation needed] this as the first time tape machines had been synchronised, although SMPTE sychronisation for video/audio synchronisation was developed around 1967.[40]
Backwards tapes[edit]
As the Beatles pioneered[according to whom?] the use of musique concrète 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[citation needed] (Lennon singing the first verse of the song), came about when Lennon (claiming the influence of 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 forward 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 Paul is Dead urban myth. However, only 'Rain' and 'Free as a Bird' include intentional reversed vocals in Beatles songs.
The stereo version of George Harrison's 'Blue Jay Way' (1967, Magical Mystery Tour) also includes backwards vocals, which is actually a backwards copy of the entire mix, including all instruments, which is faded up at the end of each phrase.[citation needed]
In an homage to the Beatles' experimentation with reversed tracks (and those rumoured), the 'reunion' track 'Free as a Bird' featured a backward message that sounds like 'Made by John Lennon.' This is only a coincidence, and the phrase that was reversed to achieve this was 'Turned out nice again' (a catchphrase of George Formby; George Harrison was a great Formby fan[41]).[better source needed] The Beatles-inspired Cirque du Soleil show Love included the song 'Gnik Nus,' which was the vocal track to 'Sun King' played in reverse, which was accidentally created when Giles Martin (George Martin's son) flipped the cymbal from 'Sun King' for an effect used on the 'Within You Without You / Tomorrow Never Knows' mashup and discovered he'd also flipped the vocal track. Also, the mashup track 'Within You Without You / Tomorrow Never Knows' uses reversed cymbals, as well as reversing one of the tamboura riffs from 'Within You Without You.'[citation needed]
References[edit]
Recording The Beatles Pdf Brian
- ^Lewisohn - Complete Beatles Recording Sessions. p13.
- ^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.. at www.dhub.org
- ^Hertsgaard - A Day in The Life. p75.
- ^Kehew, Brian; Kevin Ryan (2006). Recording The Beatles. Curvebender Publishing. p. 216. ISBN0-9785200-0-9.
- ^ abLewisohn - The Complete Beatles Recording Sessions p. 54
- ^Lewisohn - Complete Beatles Recording Sessions. p146.
- ^Emerick - Here, There, and Everywhere. p. 277
- ^Lewisohn - The Complete Beatles Recording Sessions p. 100
- ^Lewisohn - The Complete Beatles Recording Sessionsp. 74
- ^Davies - 'The Beatles' p300.
- ^All Music Guide Song Review 'Eight Days a Week' by Richie Unterberger
- ^Page 347 The Foundations of Rock. From 'Blue Suede Shoes' to 'Suite: Judy Blue Eyes'. Walter Everett.
- ^Page 346 The Foundations of Rock. From 'Blue Suede Shoes' to 'Suite: Judy Blue Eyes'. Walter Everett
- ^page 51 The Foundations of Rock: From 'Blue Suede Shoes' to 'Suite: Judy Blue Eyes' by Walter Everett
- ^Hertsgaard - A Day in the Life p103.
- ^ abpage 342 The Foundations of Rock: From 'Blue Suede Shoes' to 'Suite: Judy Blue Eyes' by Walter Everett
- ^ abLewisohn - Complete Beatles Recording Sessions. p72.
- ^The Beatles - Anthology p175
- ^The Beatles - Anthology p197
- ^Emerick - Here, There, and Everywhere. p. 56
- ^Lewisohn - Complete Beatles Recording Sessions. p11.
- ^Emerick - Here, There, and Everywhere. p. 57
- ^Emerick - Here, There, and Everywhere. p. 157
- ^Emerick - Here, There, and Everywhere. p. 159
- ^Electronic and Experimental Music: Pioneers in Technology and Composition, pp 27-28, Thomas B. Holmes, Routledge, 2002, ISBN0-415-93644-6
- ^'Wolfman'. www.lovely.com. Retrieved 2008-12-19.
- ^'I Feel Fine' All Music Guide Song Review by Richie Unterberger
- ^Lewisohn - Complete Beatles Recording Sessions. p50.
- ^ abEmerick - Here, There and Everywhere. p 127
- ^The Evolution of Beatles' Recording Technology by Cari Morin (1998)
- ^Lewisohn - Complete Beatles Recording Sessions. p95.
- ^Repsch, John - The Legendary Joe Meek
- ^ abLewisohn - Complete Beatles Recording Sessions. p70.
- ^Lewisohn - The Complete Beatles Recording Sessions p. 70
- ^About The Beatles - Songs - Lucy In The Sky With Diamonds
- ^Emerick - Here, There and Everywhere: My Life Recording the Music of The Beatles p122-123
- ^Lewisohn - Complete Beatles Recording Sessions. p8.
- ^Lewisohn - Complete Beatles Recording Sessions. p96.
- ^Emerick - Here, There and Everywhere. p 154
- ^Editors Sync Guide (ESG) at www.sssm.com
- ^The Ukulele Man - Page 2
Bibliography[edit]
- Ryan, Kevin, & Kehew, Brian (2006). Recording the Beatles (1st ed.). Curvebender. ISBN0-9785200-0-9.CS1 maint: multiple names: authors list (link)
- Lewisohn, Mark (1988). The Complete Beatles Recording Sessions (First Hardback ed.). EMI. ISBN978-0-600-61207-0.
- Hertsgaard, Mark (1995). A Day in The Life (First Hardback ed.). Macmillan. ISBN978-0-385-31517-3.
- Davies, Hunter (1996). The Beatles (2nd rev. ed.). W. W. Norton. ISBN0-393-31571-1.
- Emerick, Geoff (2006). Here, There and Everywhere: My Life Recording the Music of The Beatles. Gotham Books. ISBN978-1-59240-269-4.
- Repsch, John (1989). The Legendary Joe Meek - The Telstar Man. Cherry Red Books. ISBN1-901447-20-0.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Recording_practices_of_the_Beatles&oldid=915325552'
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Could this be the definitive guide to the Beatles' recording sessions?
The KLF, in their book The Manual (How To Have A Number One Hit The Easy Way), say: 'You will find engineers everywhere trying to impress you with the fact that Sergeant Pepper was recorded on a four-track. This is of course as relevant as the fact that no JCBs were used in the construction of the Great Pyramid.'
Grid autosport download. Every engineer knows about Pepper being done on four tracks. The more intelligent engineer will have realised that there were perhaps other factors involved in making Beatles recordings what they are: room ambience and probably lots of boxes with valves, that sort of thing. But it's actually very hard to find concrete information about how these recordings were made, and what they were made with. Until now, that is..
Much as archaeologists have spent no end of time investigating the mechanics involved in building a pyramid, Kehew and Ryan have made it their business to find out everything there is to know about the the methods by which the Beatles' music was recorded. Of course, given that this took place considerably less than 4000 years ago, and that most of the people involved are still very much alive, their task was probably a great deal less speculative than that of the archaeologists. After all, you're going to get much more definite answers if you can talk to the people involved and look at the equipment they used than you will if you're sitting around looking at a 40-ton block of stone and trying to work out how a bunch of guys in loincloths, with no JCBs, managed to move it about and use it to create pleasing geometric shapes.
Recording The Beatles is a huge book, and there's a simply awesome amount of information collected within its 500+ pages. It is the result of over a decade of research, in which Kehew and Ryan tracked down and interviewed as many ex-EMI staff as they could find, located and photographed examples of nearly every piece of studio equipment in use at Abbey Road between 1962 and 1970 and spent countless hours investigating the contents of EMI's archives.
The book is divided into four sections. The first looks at the design and construction of Abbey Road itself, and at the different roles of the various studio personnel. The second section is about recording equipment, and features an enormous collection of highly detailed (and clearly labelled) photographs, as well as a wealth of information about each piece — much of it provided by the people responsible for using, maintaining and, in some cases, actually building the equipment. Section three follows a similarly detailed format, but looks at effects and instruments belonging to Abbey Road and also at other studios used by the Beatles during their career.
Section four is about the actual production of the Beatles' records. There is a chapter for each year from 1962 to 1968, and a joint chapter for 1969 and 1970. Each chapter looks at the general techniques being used during that year and also features 'A Closer Look' sections which explore specific songs from that year in greater depth. The sheer volume of information doesn't let up here either, and the section is awash with 3D diagrams of studio layout, track sheets, photographs to show things such as drum mic placement, and lists of the equipment and instruments used during the sessions.
I expect that this last section will generate the most interest among prospective readers — and it doesn't disappoint. But it's the preceding sections that really make it work: all of the background information places the content of this section in context, and gives you a clear understanding of how these records were actually made.
Apart from the stunning amount of data contained in this book, the other striking thing about it is how fluently written and well laid out it is. Given the amount of technical facts here, you might expect a book that is rather dry in tone, but this is simply not the case — largely, I suspect, as a result of the authors' boundless enthusiasm for their subject. While you could use the book as a work of reference — something to be dipped into at random or to answer a specific question — I'd be surprised if most readers did not end up going through it from cover to cover. It really is that enjoyable.
Many of the techniques and processes we take for granted in the modern studio were pioneered by the people who recorded the music of the Beatles. This book gives a fascinating and unique insight into how they worked, how their equipment worked and how they used it to create not only the records we know so well, but also music recording as we know it.
Recording The Beatles Kevin Ryan Pdf
Kehew and Ryan should be immensely proud of what they've achieved here: a vast, in-depth and amazingly well researched document of recording history. Recording The Beatles is a feat which is surely on a par with working out how to build a pyramid with a less than adequate number of JCBs.
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Recording The Beatles by Brian Kehew and Kevin Ryan (ISBN 0978520009), $100.