Geoff Emerick

Второй Кондон:
http://www.brouci.com/beatlh05.php


1. června 1966
Beatles v nahrávacím studiu (studio 2, EMI, Londýn). 12 hodin nahrávají zvukové efekty do Yellow submarine. John bublá brčkem ve sklenici vody a křičí Full speed ahead Mister Captain! Ostatní přítomní se podílí na zvukové kulise. Ve studiu jsou přítomni Beatles, Brian Jones, Marianne Faithfull, Pattie Harrison, George Martin, Neil Aspinall, Mal Evans, John Skinner a Terry Condon. Pak si Mail Evans připevní k hrudi obrovský basový buben a pochoduje kolem studia, ostatní ho následují a zpívají We all live in a yellow submarine. Dohrávky zaberou nejvíce času, ačkoli se jedna z nich v písni neobjeví. Existuje nahrávka, ve které Ringo hovoří do začátku intra na akustickou kytaru (31 vteřin). Jsou přimíchány další hlasy a vyjmuta Ringova mluvená část. Nakonec Beatles řeknou "It's all too much" a vyřadí celou předehru.

Ну, а третий на микрофоне в узел завязали.!

Господа Holy Roller и Expert. Если у вас нет книги или вы недостаточно хорошо знаете English, то и нечего вам выделываться тут на сайте Beatles.ru.
У меня, разумеется, сия книжка есть и купил я её давным давно на amazon.com, просто она лежала и ждала своей очереди на прочтение. И вот только сейчас до неё дошла очередь, а за это время кое-кто (и вы, конечно-же) уже успели отметиться на сайте Beatles.ru по-поводу этой книжки.
А книжка-то оказалось не просто хорошей, но и ЧЕСТНОЙ!
И паренёк, который волею судеб записывал the Beatles на плёнку в EMI честно описывает все события и свои ощущения. И читать интересно и хочется другим рассказать. Если вы хотите получить русский перевод книжки Дж. Эмерика, пишите, я тогда буду каждую главу переводить в русские буковки.. Потому как мне уже 61 и я хорошо помню то время, за железным занавесом, когда мы ничего не знали и не могли получить на грана информации, кроме той, что доходила до СССР сквозь "жужжалки" с Голоса Америки, Willis Conover "Jazz Hour" (надеюсь, здесь многие помнят ту передачу, которую каждый уважающий себя музыкант в СССР слушал и записывал на магнитофон каждый вечер). Шлите ваши заказы и впечатления на мой адрес kholkinru@yahoo.com ответом будет мой честный и квалифицированный перевод.

Господин kholkinru, могли бы Вы указать конкретные недостатки перевода и объяснить что значит "выделываться"?

Г-н Expert!
Ещё 14.10.07 в адрес Вашего сайта было отправлено следующее сообщение, которое, как оказалось сегодня, Вас не заинтересовало, Вы, скорее всего даже и не прочли его, так что получилось, что якобы я у Вас давно в долгу, с переходом аз в 2008-й год... Я не согласен. Будьте добры, прочесть то, что я Вам отправил в октябре 2007:
Уважаемый г-н "Expert"!
Это были проделки моего внука за что его стоило бы выпороть, жаль здоровье не позволит..
Наше поколение общается более вежливо.
А книжка эта есть у меня, а не у него и переводы делаю я, а не он.
Я приношу Вам свои извинения.
А пост с форума, прошу удалить, если это возможно.

С уважением
"kholkinru"
опять-таки, это я а не он...

И...даже пост не удалили....
а это как называется, господа?

Так получилось, подпись на память...
Очень приятный джентельмен.

2kholkinru:

>Г-н Expert!
>Ещё 14.10.07 в адрес Вашего сайта было отправлено
>следующее сообщение, которое, как оказалось сегодня,
>Вас не заинтересовало,

К сожалению, письма я не получал. И в данном случае заинтересоваться чем-либо довольно сложно.

Geoff Emerick, Cheap Trick engineer Beatles tribute DVD



ST. PETERSBURG -- Last year, when singer Robin Zander and his power-pop pals in Cheap Trick decided to re-create a veritable Picasso of popular music, they knew they'd need a little help from a certain friend.

A lot of help, actually.

After all, covering one Beatles song in a live setting is daunting; staging the entirety of 1967's Sgt. Pepper's Lonely Hearts Club Band, which was deliberately, stubbornly, brilliantly made to NOT be performed live, is insane.

"It's all difficult to sing," says Zander, 55, a Safety Harbor resident and Tampa Bay's most visible rock star. "First of all, you have three of the greatest singers of rock in one band."

Last summer, at L.A.'s Hollywood Bowl and New York's Waldorf-Astoria, Cheap Trick staged critically lauded live tributes to Sgt. Pepper's, which was celebrating its 40th anniversary. They also covered other epic chunks of the Fab Four songbook.

And to make it all sound right, they called on the one man — the only man — who'd know how to handle such an undertaking: Geoff Emerick, the original engineer for Sgt. Pepper's, a man whose ability to match the imaginations of John Lennon and Paul McCartney helped start a musical revolution.

About the Hollywood Bowl show, the Los Angeles Times wrote, "Having the album's engineer, Geoff Emerick, behind the soundboard may have been the most authentic stroke of the night, but band interplay kept it real." They added, "Cheap Trick conjured the Beatles sound without getting buried by it."

Emerick was also the engineer on Cheap Trick's 1980 album All Shook Up, so he knew that the band from Rockford, Ill., could handle the one from Liverpool.

"It was great to get back together again," says Emerick, now in his 60s and still in demand. "It's not a pretentious project. It's not supposed to be better than the original. It's just fun . . .
The energy on this is just enormous."

Cheap Trick has never been shy about its main influence. Hits such as Surrender, I Want You to Want Me and If You Want My Love drip with the high harmonies and crashing crescendos of John, Paul, George and Ringo. So when they tackle the Beatles, the outcome is sublime.

"We figured Cheap Trick would poke its ugly head in there, but we were
true to the album," says Zander about the live performances. "It's a tribute to Sgt. Pepper's, not to Cheap Trick."

This spring, Emerick and Zander have been meeting at the posh Big 3 Studios on Central Avenue to work on a DVD of the New York performance. It's scheduled for release this summer, hopefully around June 28, when Cheap Trick will again play Sgt. Pepper's in L.A.

Then on Nov. 14, Cheap Trick brings Sgt. Pepper's home to us, at Ruth
Eckerd Hall in Clearwater. Tickets will go on sale in August.

And to think John Lennon said it couldn't be done.

"John said when we were going to make the album that it could never be performed live," Emerick says. "It was just impossible with all the instruments."

Emerick is extremely humble about his achievements. "It's just part of my life," he says about his place in the pop canon. But he also acknowledges Sgt. Pepper's place in history. "We knew it was special when we made it," he says.

Emerick was there for both of Cheap Trick's Sgt. Pepper's performances, which included orchestras, full audio-video crews and special guests ranging from Aimee Mann to Joan Osborne to Ian Ball from Brit-pop band Gomez. But working the soundboard during the live show might have been the easy part — now comes the polish.

On a flat-screen TV in a Big 3 editing room, Zander is singing the Abbey Road cut Golden Slumbers. With his head cocked, Emerick is leaning on a sprawling soundboard, thousands of blinking lights and knobs before him. He's listening for something. "The picture," he calls it.

Next to him is Big 3's chief engineer, Jim "Pinky" Beeman, who follows Emerick's orders to fix reverb or erase foreign noises. At one point, Emerick hears a clicking noise — a few seconds later, everyone else does, too. Like a sonic detective, scouring every second of the show, he tracks down the culprit.

"It's the horns," he says, a smirk of disdain on his hang-dog face.

At one point, he isolates Zander's vocal. "Wow," says Zander, a man who has performed in front of millions of fans. "That's like standing there naked!" But Emerick finds nothing wrong with Robin's pipes. "His voice gets better with age," the engineer marvels. "It really does."

Big 3 executive Lou Mann is also in the room. He calls Emerick "Babe Ruth." "Geoff is like an artist," Mann hushes in reverent tones. "He's painting a picture. He's unbelievably meticulous."

That's for sure. Emerick was supposed to be done mixing and polishing the DVD a few weeks ago. Now there's talk he will return to Big 3 this month to finish the project. Emerick says he'll also be at June's return engagement at the Hollywood Bowl.

And he hasn't ruled out working at Big 3 for other projects. He looks around at the wood floors, the cool lighting, the state-of-the-art equipment, the baby of owner Bill Edwards. It's one of St. Petersburg's secret jewels.

"I didn't expect anything like this," Emerick says. "If I were stuck without a studio I'd come back here for sure."

Perhaps Emerick will also be working the soundboard at Ruth Eckerd? Zander leans in. "I don't know," he whispers. "He's expensive."

Привет!

Corvin, спасибо, отличное интервью, много интересного!

Beatles engineer will share stories here on Thursday



Geoff Emerick, who engineered several Beatles albums, will discuss what it was like to work with the legendary band during a Recording Academy event Thursday at 6:30 p.m. at the Loews Vanderbilt Hotel.

Geoff is a four-time Grammy winner and author of Here, There & Everywhere: My Life Recording the Music of the Beatles. He is known for his work on the Beatles' albums Revolver, Sgt. Pepper's Lonely Hearts Club Band, The White Album and Abbey Road.


Geoff says he's most frequently asked what it was like working with Paul McCartney and John Lennon.

"Paul was the one who always pressed for more, the 101 percent performance, while John would accept the 90 percent performance," he says. "John just wanted to get on and get it finished, 'Oh, that will do.' Paul said, 'No, let's do that one more time.' "

Geoff was only 19 when he worked on 1966's Revolver, so he was quite nervous on those first sessions. The Beatles wanted to incorporate some of the sounds they were hearing on American records, so Geoff made Paul's bass and Ringo Starr's drums, as well as the electric guitars, more prominent.

John wanted to sound like he was singing from a mountaintop on "Tomorrow Never Knows," so Geoff recorded John's voice through a Leslie speaker (which goes with a Hammond organ), a truly innovative move, and one that was impressive considering this was Geoff's first track with the band.

"After we had finished Revolver, it was OK," he says. "Every session was a challenge. Even if we got an incredible sound, they didn't want the same sound on the next track we recorded."

He's proud of all the Beatles' albums on which he worked, and "A Day in the Life" holds a special place in his heart. "Most of their songs were constructed in the confines of the studio, so you saw a song develop from the very beginning to the end," he says. "John's vocals sent shivers down your spine, it had so much emotion in it."

Geoff says they never imagined the Beatles' popularity would have lasted so long. "It gets bigger every week," he says. "I don't know why. I can't ever see it happening again.

"We knew it was something, but we never dreamed it would be going on years later like this.

"Everyone had to be there at the right place at the right time. I just don't know that there's an answer to it. It's the structure of the songs and the songs themselves and what we did. People are still playing those things on the radio."

Джефф выиграл, потому что его книга на порядки лучше Мартина. Я верю Эмерику, потому что это здорово. Даже если он врет, он врет талантливо.

Почитав книгу Мартина, создается устойчивое впечатление, что это некие дебилы, которые не знают нотной грамоты и с точки зрения Мартина почему-то оказались в его замечательной студии Эбби Роуд. Видимо все остальные звезды которых он продюсировал ноты знали, прекрасно разбирались во всех сложносях муз.нотации. Абсурд, но ведь это единствнное, что может написать Мартни в свою оправдание. Правда, непонятно почему он решил перед кем-то оправдываться. Жанр в котором волею судьбы Мартин признал корифеем на деле не требует ни знания нотной грамоты, ни даже владения инструментом. Мелодию будущего хита достаточно насвистеть. И все! Мартин: "Так зачем я учился все это время, зачем меня поставили продюсером Парлафона, если с легкостью насвистывать эти самые хиты я так и не научился. А вот пришли какие-то ребятишки и в миг стали ведущими мировыми артистами". Такие замечания достаточно полно показывают: Мартин так и не понял в каком жанре, по каким законам ему следует работать. Академичность и консерватизм, превышающие любые разумные нормы..

Beatles engineer goes on the record tonight




The average 15-year-old is usually content to earn money doing odd jobs or finding some type of part-time occupation to supplement an allowance from their parents.

Not Geoff Emerick. He was hired as an assistant engineer at Abbey Road Studios in 1962 for what was initially deemed to be a two-week provisional appointment. But Emerick soon moved up the ladder at the studio, and four years later became the chief engineer for the biggest band the world, The Beatles.

Emerick, who’ll be appearing tonight at the Loews Vanderbilt Hotel on behalf of the Nashville chapter of the National Academy of Recording Arts & Sciences (NARAS), has chronicled his account of innovative, sometimes explosive recording sessions with the Beatles in his book, Here, There and Everywhere – My Life Recording the Music of The Beatles (Gotham).

During his tenure as the Fab Four’s chief engineer, Emerick was on board for such memorable releases as Revolver, Sgt. Pepper's Lonely Hearts Club, The White Album, and Abbey Road.

Emerick says in the beginning he was certainly nervous about assuming this position.

“I can remember when [producer Sir] George [Martin] was getting ready to tell them that I was taking over as the new chief engineer,” he said. “Before he could say anything George Harrison looked around the room and said ‘where's Norman?’ (Norman Smith had been their regular engineer since their earliest sessions dating back to 1962). My stomach kind of sank, but George told them that I was taking over, and both Paul [McCartney] and John [Lennon] kind of lightened the atmosphere and things worked out from there. But it was quite tense there for a moment.”

Emerick's book blends detailed breakdowns of recording techniques with his memories of musical sessions, personality clashes, and events in and out of the studio.

He corrects many misconceptions about the Beatles, among them the notion that Lennon and McCartney wrote all their songs together. During most of this time with the group, they wrote their songs separately, then got together at various times on specific parts. He also describes many other memorable encounters, from the genesis of the famous photograph on the cover of Abbey Road (Ringo Starr's idea) to the heated exchanges during the recording of The White Album that ultimately led to Emerick quitting in the middle of a session. But he was later coaxed back for Abbey Road..

Emerick was always thinking about ways to improve the group's sound, too.

When McCartney told him that he wanted to replicate the thundering bass lines that were then prevalent on Motown singles, Emerick began recording the bass through a loudspeaker rather than just having the microphone on the bass amplifier. He moved the various components of Starr’s drum kit closer together to get a heavier rhythm sound, and made other subtle changes when recording strings and other instruments that all helped make their albums sonically unique.

While he's done plenty of work with contemporary studio devices like Pro Tools and multi-tracking overdubs, Emerick calls himself “an analog man” when asked his view on what truly sounds best in the studio.

“I really can't recommend or even listen to a lot of the Beatles CDs because those aren't really mixed the right way,” Emerick said. “When we did the old mono mixes and later the stereo mixes, we were extremely careful to ensure that the voices and instruments were properly balanced, and that the effects that they wanted on particular songs were maintained. You're not hearing that with a lot of these reissues today.”

Emerick doesn't necessarily buy the conventional wisdom that Sgt. Pepper is the greatest Beatles album, though he says it was definitely their most radical from a conceptual standpoint.

“They really wanted to make records that they weren't concerned with reproducing live,” Emerick said. “We did a lot of extremely unusual things in terms of outside sounds, distortion and other things on that album. But Revolver in my view was a great, great record. I really enjoyed that one and I think it stands alongside anything that they ever made. Of course I'm really proud of all the recordings that we made together, although I think in the book I talk about the things that eventually led me to stop working with them.”

Since his days with the Beatles, Emerick has worked with many other groups and musicians. He maintained his ties with McCartney by working on Band On The Run and other solo projects. Elvis Costello, America, The Mahavishnu Orchestra, Gino Vanelli, Cheap Trick, and Supertramp are among his post-Beatles clients.

“I'm still very excited and thrilled to work in the studio,” he concluded. “It's something that I'll always want to do, because I also still get a thrill from music and sound.”

Who: Beatles engineer and author Geoff Emerick discusses his book Here, There and Everywhere: My Life Recording the Music of The Beatles
When: 6:30 p.m. Thursday
Where: Loews Vanderbilt Hotel, 2100 West End Ave.
Cost: $50 (general public), $20 (National Academy of Recording Arts & Sciences members)

Ищу фото Эмерика до или в период записи "Сержанта". Подойдет и это, но крупнее.
Страдают дети :-)

2RimS:

Сергей, спасибо за инфу и ссылки.
Там и обнаружил.
Вроде это запись "Дня жизни". И по-моему это Джефф...

Я не понимаю, зачем противопоставлять двух талантливых инсайдеров.
Мартин - продюсер, продвинувший Битлз, аранжировщик, блестящий клавишник, игравший на многих запися жуков. За это его часто называют пятым битлом. Эмерик - отличный звукооператор. Но в любом случае, Мартин - супертяж, а Эмерик - в весе петуха. Таковы исторические реалии.

2Mr.Moonlight:

>продвинувший Битлз

Это Битлз его продвинули.
До их появления этот инсайдер был уж очень инсайдовым. Целых 10 лет: ни в одном хит-параде по большому счету о нем не было ничего слышно.
Да и потом все что Мартин делал рядом на валялось по популярности с продукцией Битлз. Таковы факты.

2Expert

А Эмерик, которого ты восхваляешь, - это юноша что-ли продвинул Битлз?
По твоей версии жуки сами взошли на небо, как светила. Но это хорошо для легенд и сказок.
С тем, что жуки - это колоссальная удача Мартина, никто не спорит. Но пятый битл - только он. Такова история. Ты же, надеюсь, не хочешь ее переписывать?

2Mr.Moonlight:

>это юноша что-ли продвинул Битлз?

Это талантливый и трудолюбивый звукоинженер. А Мартин - талантливый и трудолюбивый продюсер. Но не более того. Иначе тебе надо будет привести примеры его работы не с Битлз, способные сравняться с Битлз. Если тебе это удастся, считай, историю ты уже переписал. :))

2Expert

>Иначе тебе надо будет привести примеры его работы не с Битлз,
>способные сравняться с Битлз.

Если критерий - чартовые успехи, то такие работы есть.
Но ты в любом случае передергиваешь. Ты ставишь Мартину в упрек талант Битлз, что Мартин делал битловские "конфеты" более вкусными, а не изготавливал их из говна.
И ответь в таком случае на вопрос: почему Декковские продюсеры отказались от жуков за полгода до Мартина?
Эмерик тогда под стол пешком ходил.

2Mr.Moonlight:

>Если критерий - чартовые успехи, то такие работы есть.

Это лишь верхушка айсберга. Если тебя интересует материальное: то в первую очередь постоянные переиздания. А эвергриновых артистов хватит пальцев на руке пересчитать. Так вот никто кроме Битлз не переиздается. Вся остальная продукция Мартина с 50-х по 80-е - исключительно удел коллекционеров. Остальным это НЕ НУЖНО. Это просто пыльный архив.
Есть еще вопрос идейного влияния. Есть кто из других артистов Мартина, способных сравняться с Битлз в этом вопросе?




2Mr.Moonlight:

>И ответь в таком случае на вопрос: почему Декковские
>продюсеры отказались от жуков за полгода до Мартина?


Ознакомься внимательней с первой реакцией Мартина на Битлз. Она НИЧЕМ не отличалась от реакции продюсеров Декки. Единственное, он позже оправдывал свой выбор тем, что битлы ему были симпатичны как люди. И все. И он был весьма удивлен, что Битлз потом настаивали на записи именно своих песен, а не его, казалось бы, очевидном хите - "How Do You Do It". Он думал, что это все несерьезно и ерунда. Ничего он в Битлз не разглядел.



2Mr.Moonlight:

>Эмерик тогда под стол пешком ходил.

Эмерик впервые принимал участие в работе над записями Битлз уже в 1963 году. Довольно быстро подрос...