Книга Джеффа Эмерика: "Тут, там и везде: моя жизнь во время записи музыки The Beatles"

http://www.blotter.ru/news/article08489/default.asp
Звукорежиссер The Beatles рассказал о тайных звуках, скрытых в известных хитах группы
[03.03.06 19:31]
Источник: Blotter
Немало любопытных подробностей о тайнописях The Beatles раскрыл в своей книге звукорежиссер Джефф Эмерик, работавший с Ливерпульской Четверкой на протяжении всего ее творческого пути.
Многие поклонники группы давно заметили, что в записях The Beatles довольно часто присутствуют какие-то непонятные эффекты, напоминающие то шум толпы, то посторонние разговоры, то прокрученную задом наперед человеческую речь. В своей книге Джефф Эмерик рассказал, как и почему это делалось. Так, например, случайно брошенная Полом МакКартни, фраза "Fucking hell!" оказалась записанной по настоянию Джона Леннона. При внимательном прослушивании одной из самых известных песен группы «Hey Jude» действительно можно различить ругань Пола сразу после строчки «The minute you let her under your skin». Только очень тихо…
Кроме того, книга содержит обильные материалы о секретах в названиях альбомов группы, кадры с фотосессий, раскрывает тайны студийной работы.
Свое творение Джефф Эмерик назвал «Тут, там и везде: моя жизнь во время записи музыки THE BEATLES». В продажу оно поступит уже в этом месяце, правда, пока только в Великобритании.

А нет ли у кого случаем электронной версии книги? Судя по всему, очень интересная штука.

2bluebird14:

>А нет ли у кого случаем электронной версии книги?
>Судя по всему, очень интересная штука.

Книга выходит 16 марта: https://www.beatles.ru/news/announce.asp?id=596

Еще до выхода книги на сайте журнала Daytrippin' выложена примечательная полемика звукооретора Кена Скотта и Эмерика. Кен нашел в книге вот такие ошибки:

1) The book claims, on Page 108, that Geoff was the first engineer to be given the job before the age of 40.

Amongst our teachers/mentors were Peter Bown, Stuart Eltham, Malcolm Addey and Peter Vince. These 4 pop engineers were ALL promoted before they were 40.

2) It claims he was the first engineer to record a sitar at Abbey Road on Page 137. However, it was not Geoff who recorded "Norwegian Wood" - done the year before he first recorded the Beatles.

3) On Page 257 it states how early on John wanted a rawer sound for the "White Album" and yet on Page 264 it says they came up with that idea as an excuse for the roughness much later.

4) The story is told how they recorded "Blackbird" OUTSIDE the EMI studio at night, with birds chirping in the background. When mixing this song the only bird sounds present were from an EMI sound effects tape (which Paul and I put there) and interestingly there were no traffic noises, no plane sounds nor any other sound one would expect recording outside on Page 240's "soft summer eve" .

5) Paul's middle section on "A Day In Life" was there from Take 1. It was not edited in later as is claimed on Page 149.

6) On 31st July, 1968 "Hey Jude" was recorded at Trident Studios. At that time the only studio in London to have an 8 track machine and the very reason the Beatles chose to go to a virtually unknown and untested studio rather than one of the more well known studios. Every major studio certainly did not have an 8 track in 1967 as is claimed on Page 199.

7) Page 11 states that John showed he accepted Geoff by asking if he had heard the new Tiny Tim record -- this is highly unlikely as at this time the record had not been recorded and it would be at least a year before it was released.

8) Supposedly, according to Page 300, George recorded the "Something" solo at the same time and on the same tracks as the strings. Then why is it that on the track lineup it shows orchestra on tracks 3 & 4 and main guitar solo on track 1 ? Also, if isolated, the solo on the 5.1 version has no sign of an orchestra.

9) And last but not least, page 218. Many times over the years I have told the story of how Keith Moon was leaving the studio car park, after playing tympani on "Old Man River" on the first Jeff Beck Group album Truth, and when confronted by an elderly St Johns Wood resident walking her dog he used his car's built in p.a. system to tell her to "F*#! off" and the ensuing complaints to the studio. This is the first I have heard that such a surprisingly similar incident occurred with John.

На все эти соображения Эмерик на мой взгляд ничем внятным не ответил, сославшись на память:

As the Beatles' own Anthology project proved, put four people in a room and you will get four differerent recollections of the same event. That is simply human nature.

Кен Скотт в своем втором письме продолжал находить ляпы.

And though I did find the description of the novel use of a condom during the recording of "Yellow Submarine" amusing, I have to ask why it is that in previous interviews Geoff had stated it was a plastic bag, as do other people present at the time.

Итак, использовали ли Битлз во время записи презервативы или это был обычный плэстик бэг, использованный в качестве презерватива. Или это было что-то другое? Здается, книга прошла ту же коммерческую обжарку, что и воспоминания Пита Шоттона. Но то, что "Blackbird" была записана "на улице" это конечно очевидная лажа. С другой стороны, большинство найденных ошибок на уровне придирок.

Все больше здается, что книжица несколько попсовата... Ну какое, скажем, дело звукооператору до каких-то черт психологических этих беатлосов.



The human side of legendary Beatles

The Beatles most daring recording engineer — Geoff Emerick manned the console and shaped the groundbreaking sounds of "Revolver," "Sgt. Pepper's Lonely Hearts Club Band," "Magical Mystery Tour," "The Beatles" (White Album) and "Abbey Road" - has the good sense to deal in flesh and blood and not tubes and transistors in his 352-page memoir. But Emerick, indeed a lover of ancient analog audio tube devices such as Fairchild 660 limiters, Altec 436 compressors and Neumann U47 microphones, offers such morsels for audiophiles, too. Maybe primitive was better. The book derives its title from Paul McCartney's 1966 homage to the Beach Boys' "Pet Sounds" and is a riveting, straight-up account of the technically limited and often not-so-fab Fab Four. Elvis Costello's forward offers modern context. Emerick was only 15 years old when he was hired as an assistant engineer at EMI Studios in London (today known as Abbey Road Studios) in 1962. The following day, he observed the Beatles first EMI session, the lackluster attempt at "How Do You Do It," done at producer George Martin's insistence. He kept his mouth shut, watched and listened. He loved the Beatles' raw sound and their cheekiness. Little did he know that it would soon be his hands on the buttons and his ears tilted toward the right mixing speaker on the Beatles most heralded works.

That first night, there was brash, unproven John Lennon in horn-rimmed glasses telling his producer that the song he'd selected was "crap." More diplomatic, handsome and charming, but no less forceful than his songwriting mate, McCartney (in Emerick's eyes) was always the true leader of the band.

George Harrison, the baby of the group, is insecure, sullen and more ham-fisted as a guitarist than anyone would have imagined. His arc is perhaps the most dramatic: going from second-class Beatle, who'd checked out of the band by "Revolver," to the confident solo artist and songwriter, flourishing away from the egos and tantrums of Lennon and McCartney.

In their movies, Ringo Starr was the lovable clown, and his band was often compared to the Marx Brothers. But in the studio, he was the Harpo Marx of the bunch. He never spoke, and lived in dread that he might have to perform a drum solo. But Emerick is hardly out to tarnish the Beatles image — nor is he out to make himself more important in the saga. What he accomplishes is bringing the iconic musicians down to earth — human and fallible.

"It wasn't like what a lot of people probably imagine it to be," Emerick said in an interview from Los Angeles, "but that was the way it was."

Emerick came to EMI when engineers were required to wear ties and technicians wore white lab coats. There were lots of rules. Emerick broke them all, from the first "Revolver" session on April 6, 1966, and would win Grammy Awards for engineering "Sgt. Pepper" and "Abbey Road" (he's won four to date). His signature sound (beyond his innovations, such as creating tape loops, distorted vocals and backward recording) includes close-miking techniques ("Eleanor Rigby's" in-your-face strings, for example), gobs of aggressive compression, pushing input signal for breathiness ("Girl") and sinisterly overdriving studio preamps ("Revolution").

"I always treat recording sounds in a visual sense in my mind, like microphones become cameras and so forth," Emerick said.

Ironically, he insists that the Beatles music is best listened to in mono. Why? Because he mixed them that way, and the painstaking mono mixes were the only ones made with the Beatles present in the room.


А вот сравнение микрофона с видеокамерой интересно.

In the new book, Geoff Emerick tells us stories that give us Beatles fans a view from inside that we've never heard before. For example:

All in all, I enjoyed A Hard Day's Night. To me, it was a definite improvement over previous rock 'n' roll movies, potboilers like Cliff Richard and the Shadow's Summer Holiday. The Beatles themselves were portrayed as four stereotypes in the movie, and I remember sitting there thinking to myself, "They're not really like that" -- though I was probably the only one in the theater who knew that. They seemed to be playing their roles very much tongue in cheek, especially Lennon. I was quite surprised at Ringo's charismatic on-screen persona, especially in the "This Boy" scene. Up until then, I just thought of him as the drummer in the band; now I could see he had a distinct personality, that he brought something of his own to the equation. The road manager parts were completely wrong, though -- the two actors were playing the fool. Neil and Mal didn't relate to the group that way; Neil didn't tell them what to do, ever, and Mal may have had a soft side, but he certainly wasn't soft in the head.

And in reference to Got To Get You Into My Life:

When it came time to mix the song, Paul kept saying, "I wish we could make the brass sound bigger."

George Martin replied. "Well, there's no way we're bringing them back for another session -- we've got to get the album wrapped up and there's no more budget for outside players anyway."

That's when I came up with the idea of dubbing the horn track onto a fresh piece of two-track tape, then playing it back alongside the multitrack, but just slightly out of sync, which had the effect of doubling the horns. I loved Paul's singing on that song, too -- he really let loose. At one point while Paul was recording the lead vocal, John actually burst out of the control room to shout his encouragement -- evidence of the camaraderie and teamwork that was so pervasive during the Revolver sessions.

An interview with Beatle recording engineer Emerick

In this era of digital and computer music, he prefers analog tape and tube gear. Geoff Emerick - the adventurous recording engineer who as a young man (he was 15-years old when he joined the EMI staff at Abbey Road Studios in London) shaped the sounds on the Beatles' 'Revolver,' 'Sgt. Pepper's Lonely Heart Club Band,' 'Magical Mystery Tour,' 'The Beatles' and 'Abbey Road' - insists he can hear the difference. He also insists that the Beatles are best listened to in mono. Emerick's memoir, ''Here, There and Everywhere: My Life Recording the Music of The Beatles'' (Gotham Books), written with music journalist Howard Massey, is a must-read and perhaps the best straight-up insiders view of the often not-so-fab Fab Four. Elvis Costello (Emerick recorded his 'Imperial Bedroom' album) wrote the forward. The 352-page book is not a rehash of familiar old stories. ONLINE EXCLUSIVE: Paul McCartney, from the beginning, emerges as the true leader of the often-dysfunctional band. John Lennon's lack of concentration and mood swings verge on attention deficit disorder, in contrast to his commanding presence (the image of Lennon, stripped to the waist shredding his throat on 'Twist and Shout' is startling). George Harrison, insecure and more ham-fisted on guitar in the studio than anyone would have imagined, checked out of the band by 'Revolver' and Ringo Starr, the clown in their movies, never spoke and dreaded anything close to a drum solo. Emerick describes 'Sgt. Pepper' as McCartney's album and the so-called White Album as Lennon's raw response. Smoke-stained Abbey Road's Studio room No. 2, with its dirty woodblock floor and quilted padded walls 'full of old seaweed' became a virtual prison for the Beatles. ''It was just a horrible place,'' Emerick said. Toward the end, the torturous distraction of Yoko Ono “became part of the furniture.''

Amazing that it's where they recorded the “classical music of 50 years, 100 years time,” the Grammy-winning Emerick said. And sometimes the Beatles were horrible people. Emerick walked out of the White Album sessions amid protests to stay from the band. He came back to record “Abbey Road.”

We recently picked his brain.

What was your philosophical approach? “I always treat recording sounds in a visual sense in my mind. Like microphones become camera lenses and so forth.”

How does one write about creating those groundbreaking sounds without being too geeky? “First of all, I didn't want to make this very technical, this book, at all. Nothing can be quite as boring for people that know nothing of the technical side. I just wanted to make it interesting to let people know what went on at those sessions because no one's ever sort of documented it. They weren't so iconic when we were doing those sessions. They were still who they were, but it's the story of real human beings in this environment with all its ups and downs. No one's documented it. I just wanted to sort of share what it was like to work on those records. It wasn't like what a lot of people probably imagine it to be, but that was the way it was.”

What were the limitations at EMI (today known as Abbey Road Studios)? “Our limitations were a mixing console with basically eight microphone inputs and a tape machine and microphones and few small echo devices, and that's basically what we used and had to start with. When I started to do ‘Revolver,' they wanted to go into different directions and advance.”

The early Beatles records were only two-track recordings? “Let's go back to the earliest stuff when (engineer) Norman Smith and I was maybe assisting on the sessions, of course, they were just two-track recordings. And basically, they would actually do it live. The main vocal would have been live. Most of those earlier ones were. All the rhythm track would be on one track and if there were any overdubs to be done, we'd do it tape to tape, a twin-track to twin-track copy — overdub little bits on the copy and edit (literally cut and tape) the bits on the copy back into the original two-track master. And then when you went to the mono reduction it was just a question that you could at least balance the vocal against the rhythm track level.”

When the experimentation (and later the bickering within the group) began, was it more fun than tedium? “No, it wasn't tedious, because it gave us time to experiment on things.”

Why are the Beatles records better in mono? Because we used to monitor those tracks mono, again England was behind the times as far as stereo was concerned. And it was only when we were trying to record the ‘Abbey Road' album that we actually were monitoring in stereo and giving it some consideration. We used to monitor from one loud speaker, which was the right-hand speaker, although it was left and right, but it was to one on the right. And it was all balanced and EQ-ed and monitored on one loud speaker for mono. It used to take a long, long time, if John was playing guitar and George was playing guitar on a track together to get the distinctive sounds of each of those guitars to speak properly out of one sound source.”

What were the benefits to the Beatles having the run of the place? “It was a nice way of working, a luxury because no other bands were working like that. It was a unique situation at that time because we had the luxury of time to craft and sculpture every tonal thing around those tracks. We had no sort of magic boxes. I call them magic boxes to make modern sounds. We would wobble the guide rollers to make the tape wobble on the tape machine, so it would wow and flutter the tape into the echo chamber, which is quite apparent on that solo of “Lovely Rita.” Stuff like that, with the machine almost disintegrating. We weren't supposed to treat the equipment like that.”

What does pushing equipment like audio compressors do? “If you overdo it, like what I like to do, most compression devices, and especially the Fairchild limiter which was sort of a compression device, but faster, which actually chops peaks off, I used it for sound. And if you overload them slightly, like put more in than you should be putting in on the input, it sort of scrunches the sound up a bit. It makes it a little bit more forceful. It's more exciting. It controls the loud part, but also the soft part of the vocal comes up to the same volume as the loud part. It brings up the breath sometimes to make it more breathy, and it accents the breaths and mouth noises if you over do it and have fast releases.”

The Beatles could turn on and off the vibe? “When all of the bad vibes were going on, and we actually cut the track, “Bulldog,” it was just a fun track to record. It wasn't given a lot of intellectual thought, per se. Everyone had a great time recording it and enjoying singing it and playing it. And then when it was all done it back to the vibe that there was before. It was an odd, odd situation.”

Is genius sometimes a happy accident? “Sometimes something happened that we could have thought was a mistake, and we used that mistake as a part of the track. And you see the faces all light up, you know. And you think, well that's great. We've got to keep that. That was brilliant. Sometimes it was just a mistake, you know.”

What's going on with the strange stereo mixes on Beatles albums? “It was the only way I could mix it. These were supposedly stereo versions, but again they were made as a mono record. The stereo version, there was no thought given in the process as to what I'm going to put back there because that's going to come from the left and that's going to come from the right. It was just when you start sweeping the (four) tracks left and right that's what happened. There's guitar, drums and vocals on one track! It'd be great to reissue those mono mixes again. Because those mixes are different from the stereo mixes. But those mono mixes are the ones made when the Beatles were present and the one deemed ‘the mix.'” (Editor's note: For example, Emerick said that “Sgt. Pepper” took three weeks to mix in mono; three days only for the stereo version.).

Did hubris set in after “Sgt. Pepper” became so acclaimed? “Many things happened after ‘Pepper.' Brian (Epstein) died and we went straight into, almost within two weeks, doing ‘Magical Mystery Tour,' which for all intents and purposes a bit of a disaster in England. We were thinking, oh my God. This can't last. They thought they could do anything they liked and they couldn't go wrong. But, of course, with ‘Magical Mystery Tour,” they sort of went wrong.”

What do you think of modern studio ProTools and autotune devices? “The artistic side has fallen by the wayside. There's a different dividing line there. If I'm producer or engineer with an artist now, I have to work with an artist that's got proper real musical talent. I still record analog when I can. The last thing I was doing, I was running three 24s (24-track tape recorders) in lock with a few little quick overdubs coming over from ProTools. Also, to get that richness in the sound which is still there in analog. I was brought up on analog. The young kids today, they're not brought up in analog, so they only know the sounds of ProTools, which is really discouraging to my ear. It's gritty. It's very bland, and it's very sterile. It's as if someone sprinkled fine sand over it. It's not smooth and it's not linear, it's just sort of gritty. It jars your ear. But it doesn't jar people's ears that only know that sound. (To me) it's like chalk and cheese.”

What about John Lennon's post-Beatles statement about wishing to re-record and re-mix every Beatles track? “That was John's brashness, he probably didn't mean that, obviously. Facetious is probably the right word. That was John. He'd come out with his statements. He was brash and said things without meaning them. He would never sort of apologize for saying them. I never remember him apologizing, you know.”

What did you learn by writing the book? “I was fortunate to have gone through the ‘60s with them. As the Beatles thing sort of gets sort of bigger by the day still, I was fortunate to have lived and worked through all that. Who would have thought that 44 years later, we'd be talking about this? And the music's still up there. It's well structured. It's got melody, and there's great playing, great guitar playing, great drumming, great bass playing. And it's got all the elements that you want to hear from a great record. It's entertainment, you know.”

Was George Harrison a second-class Beatle? “He was trying to find his own thing, and he struggled. I remember in the early days, always struggling for those guitar parts and the others getting frustrated because he was talking a long time. But as the book progresses, you see how George finds himself and brings (Indian influences) into the Beatles music. It suddenly dawned on me one day, I said to Howard, I've got a feeling here, that even going back to the ‘Revolver' days, (George was disinterested). On his face, he's somewhere else all the time..... and I said to Howard, you know he really wanted out of the Beatles. Even when we were doing ‘Revolver.'”

What's your favorite piece of gear? “My one favorite piece of gear if the Fairchild 660 limiter because it just adds a certain presence. It was great for guitars and it was great for John's voice, and any voice, really. It just puts a lot of presence on it. I sometime still record with them and use them on the mix, too. The drums, certainly on the ‘Revolver' stuff with the whole drum kit being mono went through one Fairchild limiter.”

Which tracks stand out? “Day In the Life,” obviously, and I guess “Strawberry Fields,” you know, and “Tomorrow Never Knows.” You know there's so many. “Here, There and Everywhere,” of course, is one of the reason why the book is called that.” That music, the structure, the melody, the instrumentation and so forth, there was thought there. Where as today, I hear records and just sort of think, where's the thinking process behind these records? There isn't any.”

Do you miss those days and the old gear? “I do, because the problem is I know the way things can sound. And I can't get the sound because of modern equipment.”

His advice to young musicians and recording engineers? “Start using your ears and not your eyes.”

Hector Saldaña

Beatles engineer tells inside story with new book

By Matt Hurwitz
Fri May 5, 9:02 AM ET

LOS ANGELES (Reuters) - There haven't been many people who can say that there was a time when they had had enough and decided to quit working for The Beatles.

But so begins Chapter 11 of "Here, There and Everywhere: My Life Recording the Music of The Beatles" by recording engineer Geoff Emerick and co-author Howard Massey.

It was July 1968, and Emerick had his hands on the recording console at Abbey Road Studios, creating the signature distorted guitars for John Lennon's "Revolution."

An impatient Lennon, seemingly forgetful of the hard work his engineer had put into great such seminal works as "Sgt. Pepper's Lonely Hearts Club Bands" and "Revolver" impatiently snorted, "Three months in the Army would have done you good."

A few days later, while recording "Ob-La-Di, Ob-La-Da" for "The Beatles" (aka "The White Album"),
Paul McCartney snapped at veteran Beatles producer George Martin, after he gave McCartney direction on recording his vocal. "Paul said, 'Well, why don't you come and f***ing sing it.'

It was the last straw in a painful period in which Emerick saw the world's most famous rock band begin to fall apart.

Unlike other books detailing the group's recording history, Emerick's provides the kind of day-to-day experience of what it was like working with the world's most famous rock group.

At age 15, Emerick was present at The Beatles' very first recording session in September 1962 at the famed EMI's Abbey Road Studios in London, and he recorded their last, in January 1970. He continued to work with former Beatle Paul McCartney over the years, as well as recorded the group's "reunion" songs in the mid-'90s, "Free As A Bird" and "Real Love."

The Grammy -winner recalls his first sight of the group, at the session which produced "Love Me Do," their first single. "They were young kids. I wasn't terribly impressed."

A more memorable date was in July the following year, when the group, with Beatlemania now in full tilt, came to the studio to record their fourth single, "She Loves You."

"There was always a buzz on days when they were due to come in," Emerick said. The group arrived early for a photo session in the alley behind Abbey Road, the sight of which got the fans outside in a wild swarm.

"When we started to record, fans burst ... into the studios. The Beatles were loving it. Once recording started, the energy from what was happening was reflected in the recording." The disc became the group's third No. 1 single.

SUCCESS AT 19

Emerick climbed the Abbey Road ladder until one day, in early 1966, at the ripe old age of 19, he was asked to become The Beatles' engineer by producer George Martin.

Emerick made an immediate impression on the group, creating the unusual sounds they were beginning to seek in their music, as they began to focus more on recording and stopped touring.

During the recording of "Tomorrow Never Knows" for the 1966 LP, "Revolver," he said, "I put John's vocal through a rotating organ speaker, called a Leslie, and gave John the sound he wanted. So I sort of passed the first test."

The Beatles kept to themselves in the studio, even setting up a little area for just themselves and their circle. "They were stuck in that studio for such a long time, year after year. They had to have their own space," Emerick said.

"But they never asked us, except on a few occasions, to have a meal with them on a Saturday night. You could never get close to them. It was a line you couldn't overstep."

The group's highlight in the studio, for many fans, was the recording of "Sgt. Pepper," in 1967, for which Emerick won his first Grammy for Best Engineered Recording.

But the next year, the band began to crack apart. As the hatred between the band members grew, it began to take its toll on the production team.

"The Beatles were constantly bickering and annoying each other, second guessing everything. It was as though they were trying to outdo each other and fight each other at the same time. It was horrible to see going on."

The book details the growth of the Beatles as separate musicians, tired of being trapped at Abbey Road every day as well as their competitiveness and artistic differences.

Equally difficult was the presence of a fifth person in the studio, Lennon's new girlfriend, Yoko Ono. Emerick said he and the production staff became used to her attendance at sessions, Lennon's bandmates weren't quite as accepting.

In one incident, Ono suggested John sing a vocal that McCartney was in the process of recording, causing him to "give John a look of disbelief, and then walk away in disgust."

Eventually Emerick could take no more, and, in the middle of the sessions, quit working with them.

In 1969, though, he was asked by Paul McCartney to head up building The Beatles' own studio at their Apple offices in London. He returned to work with the group on "Abbey Road," for which he and co-engineer Phil McDonald both won Grammys.

Интересным наблюдением делится Джефф по поводу того, как питались Битлз, записываясь в студии на Эбби Роуд.
По крайней мере это касается записи последнего одноименного альбома:

Food was always very proprietary among the Beatles. Mal would get everybody his own thing, and there was no sharing, no eating family-style; no one was allowed to try anyone else’s food.

Иначе говоря, совместная трапеза - это не про Битлз в студии. У каждого был свой кусок, с которым он никем не делился. То ли это битловская традиция, то ли английский индивидуализм вообще.
Однако на фото 68 года положение несколько иное. Или это относится только к Джорджу и Ринго? Или Ринго здесь просто присутствует?

Все же ели вместе. По крайней мере на фото. Да еще со студийным персоналом.

Затейник этот Эмерик. Надо будет книгу раздобыть.
Как я понял из отрывков, Маккартни это бог, или полубог, а остальные - сбоку припёку.

А мне бросились в глаза некоторые несоответствия описываемых моментов с книгой Джорджа Мартина Summer of Love - The Making of Sgt. Pepper. Наиболее запомнившиеся: общеизвестный факт редактирования песни Strawberry Fields Forever из двух дублей №7 и №26, записанных в разных тональностях с разными инструментами, путем увеличения скорости первого из них – догадка Мартина, Джэфф Эмерик утверждает, что именно он догадался это сделать. Далее, чтобы получить надлежащее звучание каллиопы (парового органа) в песне Being For the Benefit of Mr. Kite, Эмерик предложил, как он утверждает, разрезать ленту с записью органа на отдельные куски и склеить их в произвольном порядке, но Мартин в своей книге говорит, что это его идея, и когда он предложил это Джэффу, тот посмотрел на него, как на сумасшедшего. К своим новаторским достижениям относит Эмерик и запись гитар задом наперед, хотя мы ранее думали, что эта идея впервые посетила Джона при записи песни Rain. Но конечно же, заслуги и вклад Джэффа Эмерика в создание записей Битлз огромны и неоспоримы

2vrublew:

>догадка Мартина, Джэфф Эмерик утверждает, что
>именно он догадался это сделать.


Вместе:
George and I decided to allow the second half to play all the way through at the slower speed; doing so gave John’s voice a smoky, thick quality that seemed to complement the psychedelic lyric and swirling instrumentation.


2vrublew:

>Далее, чтобы получить надлежащее звучание каллиопы
>(парового органа) в песне Being For the Benefit
>of Mr. Kite, Эмерик предложил, как он утверждает,
>разрезать ленту с записью органа на отдельные
>куски и склеить их в произвольном порядке, но
>Мартин в своей книге говорит, что это его идея,


In the many interviews he’s given over the years, George often talks about the idea he came up with during the Sgt. Pepper sessions, on the song “Being For The Benefit Of Mr. Kite,” where we raided the EMI sound effects library and transferred over snippets of various calliopes and steam organs, which were then spliced together in a random order, some playing forwards and some playing backwards. All of that is true, and it worked brilliantly, but what George doesn’t remember is that we had done the same thing with a brass band recording nearly a year earlier in order to come up with the solo in “Yellow Submarine.”


2vrublew:

>К своим новаторским достижениям относит Эмерик
>и запись гитар задом наперед, хотя мы ранее думали,
>что эта идея впервые посетила Джона при записи
>песни Rain.

Идея Пола, впервые предложившего использовать обратные записи во время наложений на "Tomorrow Never Knows".

соло в Yellow Submarine это монтаж из отдельных кусков ленты? интересно

2k32:

>соло в Yellow Submarine это монтаж из отдельных
>кусков ленты? интересно

ааааааааааа! демоны

...

2Японец:

>2vrublew:
>>К своим новаторским достижениям относит Эмерик
>>и запись гитар задом наперед, хотя мы ранее
>думали,
>>что эта идея впервые посетила Джона при записи
>>песни Rain.

>Идея Пола, впервые предложившего использовать
>обратные записи во время наложений на "Tomorrow
>Never Knows".

Есть подтверждающая информация насчет идеи Пола? Насколько я знаю, всё началось с Rain, и автором идеи был Джон (по версии Джона) или Мартин (по версии Мартина). И дальше пошло-поехало. А Эмерик тот еще врунишка...

k32:

>соло в Yellow Submarine это монтаж из отдельных
>кусков ленты? интересно

Соло духового оркестра в Yellow Submarine - это не монтаж из отдельных кусков ленты. "we had done the same thing with a brass band recording" относится не к "snippets..., which were then spliced together in a random order", а к "we raided the EMI sound effects library", т.е. запись духового оркестра взята из архива EMI. Lewisohn, однако, этой информации не подтверждает, а указывает, что запись духового оркестра была произведена специально для данного трэка сторонними музыкатами.

Несчастный Эмерик,великий работник,засел..за книги,видимо и там...записывать уже нечего,Эмерик то не только Битлз славен,Джинно Ваннели культовый 1976 ..Записан то как!Многие его работы,сегоня во всем Мире изучают в заведениях...И вот на тебе..МеМУары значит... ЖАЛЬ!

2Serguei Koznov:

> А Эмерик тот еще врунишка...

Старый стал,все врет больше)))))От безделья,а что остается!

Это же все не просто так,жил себе человек,работал,и вдруг на те,книгу написал!!!
С памятью то там все в порядке,и написать есть о чем,но вы же понимаете..Битлз...
Жив интерес народа...
А в таких случаях приврать...для "красного словца",не только Эмерик велит!!!

Tomorrow Never Knows, где слышно звучание гитар задом наперед, действительно записана раньше, чем Rain. Но..! там столь вычурный звук был достигнут использованием замкнутых петель магнитофонной ленты (loops), прокручиваемых через магнитофон со снятой стирающей головкой. Петли были нарезаны в основном с ленты, на которой Пол дома записал электрогитару. 7 апреля 1966 в студии было установлено 5 магнитофонов, в которых многократно прокручивались петли, некоторые и в обратном направлении. Конечно нельзя было не заметить характерное звучание гитар задом наперед, но это на значит, что это идея Пола. Песня Rain записана 14 апреля, но в ней задом напред записаны не гитары, а вокал Джона, который впервые обнаружил этот эффект случайно, вставив дома ленту в магнитофон задом напред. Об этом его высказывании много писали, поэтому оно широко известно, хотя Джордж Мартин утверждал, что впервые предложил этот эффект Джону именно он. Ну а гитары впервые специально целенаправленно записаны задом наперед в песне I’m Only Sleeping 5 мая 1966, причём не взятые наобум куски, а специально разученные и записанные партии так, чтоб они надлежаще звучали в песне. Обратите внимание, что все три песни Джона. Но, пожалуй, определить, кому принадлежит приоретет идеи записей задом напред не так просто.

2Грибушин Сергей Иванович:

>а указывает, что запись духового оркестра была
>произведена специально для данного трэка сторонними музыкатами.

Что еще более сомнительно. Ради 3 секунд музыки сочинять марш, писать партитуры, созывать духовиков. Вряд ли бы подобное событие не было бы отражено в документации.

2vrublew:

>Но..! там столь вычурный звук был достигнут использованием
>замкнутых петель магнитофонной ленты (loops),
>прокручиваемых через магнитофон со снятой стирающей
>головкой.

А при здесь петли? Петля обеспечивает лишь повторение какого-то звукового фрагмента. А как получить звук фрагмента - вот вопрос.

Paul had assembled an extraordinary collection of bizarre sounds, which included his playing distorted guitar and bass, as well as wineglasses ringing and other indecipherable noises. We played them every conceivable way: proper speed, sped up, slowed down, backwards, forwards. Every now and then, one of the Beatles would shout, “That’s a good one,” as we played through the lot. Eventually five of the loops were selected to be added to the basic backing track.


>Но, пожалуй, определить, кому принадлежит приоретет
>идеи записей задом напред не так просто.

Ничего сложного. Придумано это было не Битлз, а композиторами вроде Штокхаузена, которые по-всякому экспериментировали с магнитофоном и пленками. Пол в начале 66 как раз активно интересовался данным направлением.

2meyk:

>Несчастный Эмерик,великий работник,засел..за
>книги,видимо и там...записывать уже нечего,Эмерик
>то не только Битлз славен,Джинно Ваннели культовый
>1976 ..Записан то как!Многие его работы,сегоня
>во всем Мире изучают в заведениях...И вот на тебе..МеМУары
>значит... ЖАЛЬ!
>2Serguei Koznov:
>> А Эмерик тот еще врунишка...
>Старый стал,все врет больше)))))От безделья,а
>что остается!
>Это же все не просто так,жил себе человек,работал,и
>вдруг на те,книгу написал!!!
>С памятью то там все в порядке,и написать есть
>о чем,но вы же понимаете..Битлз...
>Жив интерес народа...
>А в таких случаях приврать...для "красного словца",не
>только Эмерик велит!!!

Это сейчас норма жизни на загнивающем Западе, книги писать! Эмерик, ладно - роуд-манагеры всякие пишут! все хотят икру мазать поверх масла на бутер! а что его работы со всякими разными Ванелли изучают, на масло не намажешь!

Да, магнитофонной лентой задом наперёд баловались, вероятоно, и до Битлз. Но утверждать, что именно Маккартни, наслушавшись Штокгаузена, предложил обратную запись в песнях Битлз, не вижу веских оснований.

2vrublew:

>Да, магнитофонной лентой задом наперёд баловались,
>вероятоно, и до Битлз. Но утверждать, что именно
>Маккартни, наслушавшись Штокгаузена, предложил
>обратную запись в песнях Битлз, не вижу веских оснований.

Можно на том основании, что Маккартни сам это заявлял)
(Хотя так же можно ему и не верить (если не хочется) :-))

якщо десь сбрехав
не вижу основания читать книгу
попробуй отличи потом правду от лжи

Это правильный подход, хорошие книги на полках магазинов - целее будут!

Запись песни в проходила на студии Trident 31 июля, которая имела 8-дорожечный магнитофон и систему шумоподавления Dolby, а на студии Abbey Road имелась только 4-дорожечная машина. Было записано 4 дубля, первый из которых был выбран в качестве мастера. 1 августа было выполнено микширование на основной трек, которое включало лидирующий вокал и бас-гитару Маккартни, бэк-вокал Леннона, Харрисона и Маккартни, а так же бубен Ринго. При этом, по воспоминаниям звукорежиссёра выполняющего микширования Малькома Тофта, Леннон в ответ на громкий звук в наушниках крикнул "Вау", а затем выругался "Fucking hell". Леннон настоял, чтобы эти фразы остались на записи, их немного приглушили но можно услышать на 2.56 и 2.58 при внимательном прослушивании.

Эта информация имеется на англоязычном сайте Wikipedia Hey Jude. Кроме того Полный путеводитель по музыке Битлз. Джон Робертсон. Издательство "Локид", стр. 143:".... но Джон Леннон сделал-таки свой вклад вставив примерно на третьей минуте композиции нецензурное слово...."

Миф о ругательстве Поля фигурирует в русскоязычном интернете, в том числе и в русской википедии (У нас как всегда-всё не слава богу- правая рука не знает что делает левая). При этом ссылаются на книгу Geoff Emerick "Здесь, там и везде: моя жизнь, записывающая музыку Битлз".

Из англоязычной Wikipedia "Geoff Emerick" (перевод дословный)

В 2006 году Эмерик выпустил свои мемуары "здесь, там и везде: моя жизнь, записывающая музыку Битлз", написанные в соавторстве с музыкальным журналистом Говардом Мэсси. Книга вызвала споры из-за своих фактических ошибок.... В интервью 1979 года, в котором Эмерик признается в своей неспособности вспомнить многие детали своей работы в студии звукозаписи с The Beatles, делает содержание книги еще более сомнительным.

Сам же Geoff Emerick при записи этой песни не присутствовал, он режиссёр на Abbey Road , а запись была на студии Trident.