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Zahar (8), Digmus (9), ramble (11), Карина HelloGoodbye (13), Nadegda (14), TwisT_25 (15), Йорик (16), ariel4Paul (16), Потолок)McCartney (16), Edem (16), open_sky (16), alex2163 (17), satriani (18), AwniL (21), Oksana (21), Mozart (21) |
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Rita
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Re: Кому посвящена "I saw her standing there"? Автор: Rita Дата: 12.02.03 11:43:05 | Перейти в тему |
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кроме Дот, с которой Пол расстался в 1962, было еще много неофициальных girlfriends, ну, вы понимаете... |
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Re: Кому посвящена "I saw her standing there"? Автор: Rita Дата: 12.02.03 11:09:59 | Перейти в тему |
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Монстр66, песня-то 1962 года ... |
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Re: Кому посвящена "I saw her standing there"? Автор: Rita Дата: 12.02.03 11:02:44 | Перейти в тему |
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tch: нет, никто ничего препарировать не собирался:) Просто есть реальная девушка, про которую эта песня была написана. |
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Re: Кому посвящена "I saw her standing there"? Автор: Rita Дата: 12.02.03 10:59:56 | Перейти в тему |
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нет, не Синтии. Keep trying :) |
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Deciding For Yourself Despite the difficulty due to the factors described above, it is still possible to synchronize She Loves You and Sie Liebt Dich enough to demonstrate the phenomenon of how alike they sound. When you listen to them synchronized, it sounds as if the lead guitar and bass guitar parts are identical throughout. In addition, the drum part also sounds like it is identical in several unique passages. To help you explore the striking similarities between She Loves You and Sie Liebt Dich, I have prepared the four clips below. Each is the same segment of both songs, the Parlophone mono mix of She Loves You on the left and the instrumental track from the stereo mix of Sie Liebt Dich from the Parlophone Rarities LP on the right, with Sie Liebt Dich slightly slowed down (approximately 2%) to match the speeds, and synchronized to line up as close as possible. Besides being generally alike, here are some specific things to look for in the above clips: 1. The de-emphasized drum beat after the second "Yeah Yeah Yeah". The lead guitar has an identical note-doubling in the phrase right before the vocal. 2. The unique drum break before "and you know..." 3. Extra notes in bass line under "but now she said she knows..." 4. The lead guitar phrases, the first of which starts sloppily. When listening to these examples, try to focus on one instrument at a time. Listening to these soundclips in headphones makes it easier to focus on each instrumental element. Also, listen for what is alike, rather than what is missing from one or other, as missing sounds can easily be explained by being "buried" in their respective mixes by other sounds or differences in the mixing and mastering processes. After hearing the two versions of the song synchronized, and considering the details described above, it's my opinion that the two recordings, She Loves You and Sie Liebt Dich, were made using the same instrumental performance. However, we may never know the answer for sure. Many of the people involved are no longer with us, and it was 39 years ago. Perhaps if more of the Sie Liebt Dich recording session (a bit of which is included above) is ever released from the EMI vaults, we may know if they really did record a new live rhythm track for Sie Liebt Dich that day in Paris in 1964. Until then, we'll just have to depend on our own ears. And remember, it was George Martin who said "All you need is ears". Reference information from The Beatles Ultimate Recording Guide by Allen J. Weiner, All You Need Is Ears by George Martin and The Beatles Recording Sessions by Mark Lewisohn. http://www.shelovesyou.info/slyandsld.html |
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A Controversial Theory But why is the mono mix of She Loves You so highly edited, much more than any other early Beatles release? I have a theory as to why this is. It is documented that at the time She Loves You was recorded, the Beatles were recording on a two-track tape machine. That means the song would have been recorded with the rhythm track on one channel and the voices on the other. We also know that it took much time, especially in the early years, for George to work out his lead guitar parts, although once he worked out the part, he played very well. This is reason to believe that George's guitar might have been recorded separately from the rhythm track which was done first. In the two-track days, for that to be accomplished, since both tracks were already taken up, one for the rhythm track and the other for the vocals, it would have been necessary to "mix down" both of these tracks to one track of a new tape, thereby opening up a new free track. It's possible George Martin opted not to do this for two main reasons. First, a "mix-down" step would mean an additional tape generation, meaning the introduction of a lot of tape noise (hiss). Also, it meant relenquishing the ability to re-mix. Once mixed-down, the levels of the vocals to the rhythm track would be forever set and unchangeable, and it would be impossible, for example, to change something in the vocal without affecting the rhythm track. Instead, it's possible to believe that George's lead guitar track was simply recorded on a separate tape, to be played back in synch with first two-track tape when making the mix. There is evidence they had done something similar to this earlier, on a smaller scale, with things like John's harmonica on From Me To You and Thank You Girl, where we know the harmonica is not part of the main rhythm track, because of tape evidence of the actual edit pieces, and differences in the mono and stereo mixes of the song. The fact that George's guitar had to be synched with the main tape when making the mono mix could explain why the mono mix is so heavily edited. It was way too difficult to get it all perfectly synchronized in one take, so they edited together all of the best attempts. In addition, this perhaps explains why there is no stereo mix of She Loves You, because it would have been too hard to do, and there's no way they could do a stereo mix that sounded exactly like the mono one. There is documented evidence that George Martin did something like this again later, issuing I Am The Walrus in fake stereo rather than attempt a true-stereo mix because an effect created during the mono mix (the King Lear voice-over) could not be recreated in the same way. I admit I have no proof that there was a separate George guitar track, it is only a theory. At the very least, upon the evidence of all the tape edits in the mono mix, the She Loves You master tapes must have been comprised of several separately recorded components which were assembled for the mono mix. This sheds some light on many of the lingering questions in the making of She Loves You and Sie Liebt Dich mystery.
Putting It All Together It's important to remember that all of the documenation we have on the making of both She Loves You and Sie Liebt Dich is shaky, at best. Taking a look again at the quote from Lewisohn: "For Sie Liebt Dich, the Beatles recorded a new rhythm track, the 1 July 1963 two-track tape having been scrapped once the mono master was prepared. This was done in 13 takes, onto which they overdubbed, in one take, the vocals in the rhythm left/vocals right pattern of their earlier two-track tapes." We know at least part of that account is wrong, the vocal overdubs were not accomplished in one take, as this outtake snippet from Anthology proves: I think it is reasonable to believe that the thirteen takes that Lewisohn describes it took to re-record the Sie Liebt Dich rhythm track could instead have been thirteen takes to successfully reconstruct the rhythm track for Sie Liebt Dich from the components of the original She Loves You master tapes. This process would have been very laborious, and could have easily taken thirteen tries, the very reason a stereo mix was abandoned originally. At the same time, is it reasonable to believe it would have taken the Beatles thriteen takes to re-record the rhythm track for a song they already knew very well by this point? If indeed some recombining of the master tapes was involved in recreating the She Loves You rhythm track, this could be the very cause of the speed differences between the two releases. It may have been necessary for them to slightly speed up the She Loves You two-track master in Paris as they were making the mix, in an attempt to make the various tape components match better.
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Keys To The Puzzle The key to proving that both tracks have identical origins is to hear them both at the same time. However, it is very hard to successfully play back She Loves You and Sie Liebt Dich together and keep them synchronized. I believe this is due to two major factors. These two factors are also very instrumental in understanding why, upon casual listening, the tracks seem to sound so different. 1. Tape Speed Every release of Sie Liebt Dich is slightly faster than the Parlophone She Loves You. To add to the confusion, the Parlophone release is slightly faster than the American Swan and Capitol releases, which are similar. This makes the difference for American listeners even more acute. (Listen to the comparisons of the Swan She Loves You and the Odeon Sie Liebt Dich above.) It is possible that the original speed difference is due to differences between the tape decks at Abbey Road where the rhythm track was recorded and those at Pathe Marconi in Paris where Sie Liebt Dich was produced (a difference which was later compounded when the mono mix of She Loves You made its way to America). A turntable or tape recorder with a vari-speed function or a computer's sound editing program can be used to successfully match the speed of the two versions. When this is done, both versions become perfectly in tune musically with each other. This is an important fact. If they were totally separate recordings, played in the same key but at slightly different tempos, when corrected to match speeds, their musical keys would not match. But this is not the case. The speed differential between the original Parlophone mix and the German mix may also be at least partially intentional, keep reading. 2. Tape Edits in Mono Mix We can hear that the mono mix of She Loves You is very heavily edited. Sie Liebt Dich does not appear to be. Listen to this sound clip which contains three examples of edits in She Loves You from the version on the Past Masters 1 CD:
The first edit in the above soundclip is slightly hard to hear, it takes place in the middle of the guitar after "you know you should be glad", this is approximately 1:15 into the song. The next two are much easier to hear, right before "pride can hurt you too" at 1:22 into the song, and then again right before "because she loves you" at 1:29 into the song. These edits, and others, are in every release of She Loves You but they are easiest to hear on the Past Masters CD. Steps were taken during the mastering of earlier 45 and LP versions to hide the edits somewhat, this seems not to have been done when Past Masters was released. The edits throw any synchonization attempts off, as they were done by hand and each physical tape edit possibly includes a tiny bit more of each recording than it should, or a tiny bit less. These slight editing mistakes are not big enough to notice upon casual listening, but are big enough to cause synch attempts to seem to drift in and out of synchronization as the edited version first includes tiny snippets of the original recording where it shouldn't, and then loses tiny bits later that should be there, when compared to the seemingly unedited Sie Liebt Dich.
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вот новости с сайта, где собираются подписи (см. выше)
So far, the combined on-line and hardcopy petitions contain a total of 18,460 signatures! That is a wonderful start. But there are millions of people in our world grateful to have the Beatles in their life. Please make it a little project of yours to recruit all your Beatle-loving family, friends, work colleagues or schoolmates to the cause. Our target is at least 100,000 signatures! The Hall of Fame couldn't ignore that! Remember - There's Nothing You Can Do That Can't Be Done!
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Друзья! Поздравляю вас с сегодняшним официальным релизом "Two Towers"! Будем надеяться что в этот раз фильм приедет к нам побыстрее, потому как смотреть пиратское видео не хочется принципиально, а ждать его появления в кинотеатрах тааак долго!:) |
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Re: Песни с битловскими названиями,но совершенно другие песни Автор: Rita Дата: 15.11.02 12:14:12 | Перейти в тему |
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"Words" The Mamas & Papas |
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Я, например, ходила в библиотеку, чтобы сфотографировать вкладки с фотографиями (извините за "масло масляное") :)) |
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не знаю как бы я восприняла эту книгу сейчас, но тогда три вышеназванные книжки и спецвыпуск "Студенческого меридиана" были единственными местами, откуда можно было что-либо о Битлз узнать, выбирать не приходилось. Я думаю, у любителей Fab Four, которые застали те времена, есть много что сказать доброго про эти книжки и я думаю тогда многие отдали бы "полцарства" за обладание этими изданиями |
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Re: Битлз и Джеймс Бонд - параллельные миры Автор: Rita Дата: 15.10.02 13:34:49 | Перейти в тему |
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БИТЛС наверное, и обязательно через "С" |
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Да, Пеге - это хит! Надо же так было! |
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