Hey Guys ! Just a comment about the REDD Preamps and the TG desk misconception. From Recording The Beatles "Geoff Emerick also notes that the solid-state TG desk simply didn't allow him to record the drums the same way; he recalls being particularly frustrated at not being able to capture the same bass and drum sound as he had in the past. In fact, large portions of the album (Abbey Road) were tracked on the REDD.51 desk in Studio Three, but the TG certainly had an effect when mixing" Come Together was indeed recorded in studio 3 and ACTUALLY the famous 3M 8 track machines used on this album were not available so it was also recorded on the J37 tape machine. It was then dumped to the 8 track machine in studio 2 for the guitar solo, hand claps and the Rhodes piano solo. Hope this answers any misgivings ! Happy to answer any other questions I can as well regarding this session.
AMAZING bass sound you captured during this session!! Question: is that a modern Rickenbacker or a vintage bass? I have re-read Geoff Emerick's book many times, and it's important to let people know of his contribution to The Beatles' sound. Great video all round - well done to everyone involved.
No way. Listen to the original. I know Ringo tells another story😊Anyway it’s the high pitch tom first. On TH-cam you can hear the isolated drums. Best Regards Bjarne
I had a regular gig that I had to fly to once a month. The soundman had a twin for me as backline. He often asked me to turn down which was almost impossible without it becoming painfully clean. It had so much headroom.
If you cut drums, and set up other mics such as the gtr amp mic, the bass amp mic, piano mic, just to get the bleed, or the “cheap bleed”, then you need to process those tracks just as you would if those tracks were “real”. Meaning you would have to process the gtr amp bleed mic the same as you would process the gtr. And pan it as such. Your options are incredible with the “cheap bleed” (as far as panning, eq, compression, volume, reverb) but the beauty about bleed is your stuck with it on there (after you’ve gone through lengths to minimize it) and then the bleed falls where it may. (Once you process and pan and place the other tracks). This to me that is the true beauty of bleed. There’s is much haphazardness involved that the lack of control, after recording, is special. Great video. Cheers
You guys (and gals) probably have the best, most fun jobs in the world! Massively interesting/entertaining/informative video too. Enjoyed it immensely, thanks.
Songs from Abbey Road that were recorded in Studio 3 at Abbey Road using the REDD.51 Desk NOT the TG Desk : Come Together, Oh Darling, Octopus's Garden, Something, The End.... "20 of the 36 tracking days were done in Studio 3 during Abbey Road." So even overdubs were done on the REDD desk on some songs as well. The only song NOT MIXED on the TG desk on Abbey Road was "She's So Heavy" Which was actually recorded at Trident but MIXED on the REDD.51 desk in studio 3.
My mistake. I know that Brian Epstein had done a deal with VOX in the very early days that was an exclusive while he was still their manager, that's what influenced my comment. I've had a few conversations with Richard Lush who was one of the Beatles engineers, he now lives in Sydney and has done since coming here to set up EMI Sydney.
abbey road was the first album with the tg solid state desk but i think the only one was in studio two so all the songs done not in studio two would have still been the redd desks the mixing was mostly done on the tg but alot of that sound from the redd desks are still in there i have a question also which redd desk from waves would be more beatles time period and more used by them the 37 or the 51 and for a beatles vibe would you reccomend using the redd or the tg?
Id say the REDD for Beatles vibe as 95% of their records were tracked on them. The 37 and 51 were used a lot. If you mean the REDD 17 plugin, that desk was only used on the first LP Please Please Me and used V72's instead of the REDD.47 preamp and lineamps, bit of a softer sound.
i ment did they use the 37 or the 51 more because one the wave version both are in the same plugin but u can toggle back and forth and i was wondering should which one was more authentic
steve jones dimed his twin but he had gaus 2841 (rated @ 400 watt) speakers in it and he was goosing the front end with a mxr distortion plus . the gauss speakers developed a reputation for very high quality along with possessing the ability to drill holes through a rock wall with shear volume. Gauss was one of the speakers recommended by Mesa for the Mark I. To quote the original letter sent to Mark I owners: "To get super performance from a Sixty watt model, we recommend the JBL K-120. Gauss and Electro-Voice EVM speakers also sound great in a Boogie and have a generally tauter, more rigid sound than the others." this is the part of that story that gets left to the way side as a dimed fender twin with the stock speakers , not sure if that would have made it on to any recordings . interesting tidbit , the amp was stolen , i am not sure who was the original owner , but the the rumor was it was ripped off from a bowie show . i found a pair of these speakers at a resale , installed in some generic large triaxle living room sized stereo speakers with a 15 dollar price tag . they are incredible speakers .
Amazing video... since you’re taking it to this level of nerdy detail I feel the need to add that I’m pretty sure McCartney used tapewound rotosound 88 Tru Bass Strings to get the Abbey Road tone rather than conventional flats.
Underneath tom mics yes BUT he took the bottom heads off - on some of the Pepper tunes he actually put the mic inside jars to capture that crazy overtone
The multiple tape bounces had a major impact on the sound. Bleed in a good room can add a lot of dimension. Emerick stated in several book that he almost never used bass D.I. I didn't know he used a C12 on bass though. Putting the bass near the drums can help with timing issues; you get a more focused sound since the bleed delay is shorter. They didn't have the Coles / STC ribbon mics back then? Emerick mentioned using ribbon mics a number of times, but I don't recall him specifying what model. I've seen other people from EMI in that period mention the STC, the forerunner to the famous Coles 4031 if I'm not mistaken. Sadly there is a lot of misinformation out there. When UA came out with the Helios 69 EQ, they touted it as the board used on Abbey Road, but it wasn't until Emerick built the Apple studio that a Helios entered the scene; The Beatles weren't recording together by that time. Some of Harrison's solo debut was made there though.
I discovered it almost 3 years ago. Of all the tape sims I've tried, it seems to do a superior job, so I went for it. I'm even more frugal than Warren claims to be LOL! I don't open the wallet too easily. LOL! It's also good for tracks or buses that have previous automations on them because you can adjust the output on it and bring it up or down to the desired level. Haven't messed with the wow / flutter yet, messed with the tape / bias a little. Default is usually fine.
Watched an interview with Ringo and he showed the drum fills were from the floor tom to the rack tom. I think it was easier to get back to the hi hat after the fill . Great video by the way
Its funny, I saw that too.... But Ringo's memory isn't as good as you might think... Its clear on the recording he did not go to the floor first. The floor is the very dead sounding drum that you hear in the verses, I actually have a stem of his drum track solo'd, I slowed it way down to make sure I got the combination right. What you see me do is what is on that recording.
Warren, thanks for your videos btw. Any opinion on which amp Paul might have run his Casino into for Here, There and Everywhere? Deluxe Reverb? I think maybe Bassman 6G6-B? I've never played that one so I wonder. It's such a brittle sound, probably a lot in production but what a gorgeous haunting tone I've been close but never achieving my entire life. For that matter was it the Casino? I've even thought so - source confirm that but sources are often wrong. He does/did own an Esquire which might achieve that sound.
Yes,Steve Jones used two silverface twins facing each other with a mike in between and the tremoloes set different from each other. Twins are too heavy for me now but if you turn em up past 8 they break up. Funny, now I use a 64;Princeton reverb for everything except festivals, outdoor gigs etc
That's pretty fantastic. Clay does an excellent job on the song. I miss those bleeds into tracks. Everyone tries to be so slick these days that they lose the magic of a band playing a good tune.
Whilst I was watching this, it was like a dream and I thought I understood everything, but when it finished it all evaporated and I was like a dog staring at a spanner once again.
I've been listening to Abbey Road in my car lately, and must say that this is a damn fine emulation. The main nitpick I can find is that the Rhodes on the original had one note out of tune, noticeable during the coda. Very interesting.
Geoff Emerick said in his book that he used the new solid state console on Abbey Road. The Beatles allegedly complained about the sound because it wasn't what they were used to but they had to use the gear that was in the studio. So according to him, no tube pres were used in the making of the album.
Nope not the case. Anything on Abbey Road done in studio 3 had the REDD desk still in use. Come Together was done in studio 3, so it would be impossible that this was a TG desk. Its stated so in the Recording The Beatles book, as well as the track sheets. It was very likely mixed on the TG desk but definitely not recorded.
Hi The WolfBass, thanks for the message. I checked all references in 'Here, There and Everywhere' I didn't read that. Is there a specific page you are referring to? Many thanks!
You guys were referring to EMI Studios Studios 2 & 3, but wasn't the album "Abbey Road" recorded at Trident Studios? GREAT job on the finished track/video by Clay btw!
You know - when u post a comment like that why don't you give a little explanation as to why you think that other studios were used that contradicts even the name of the album? ...When I first read your comment I thought 'And they named the album Abbey Road because....'? And then I thought 'Well no one is answering you because the whole point of this video is to recreate the sound from EMI's Abbey Road studios' - not Trident or Olympic. But then I did a little 'research' and yes, there is some mention that there was a little bit of early work done on a few of the songs at both of those other studios. It's unclear to me how much of that 'other studio' work found its way into the final product - but one thing is clear - the bulk of the work on the album 'Abbey Road' was done at EMI's Abbey Road studios. Which is why - ahem - they named the album Abbey Road' I would presume.
@@greenlightwilly You're right, I remembered it wrong. I was mixing it up with The White Album, where they used Trident for several songs. Looks like they only used Trident for one or two songs for the Abbey Road road. Sorry for the mix up.
hello at one point you say that paul recorded with DI for some things.. I'm kinda confused. How did they DI back then? Im not finding a lot on the subject but Im so curious. and if anybody knows please tell me. Thanks
You do know there is a Edu exemption in copyright. TH-cam is paid to ignore this reality ad nausium. You acting as if this "fair use" doesn't exist, does not help. “Fair use” is the right to use portions of copyrighted materials without permission for purposes of education, commentary, or parody.Dec 3, 2019
Click the button link below and it takes you to a couple of different places, it starts asking for you to fill out personal information....I'm not doing that
This is weird.. I have been away from studio work for close to 30 years ( I went into Pc's ) and I just hit on this.. video And you are explaining the mic and the amps and using "the lingo" and your "the Cabs" just registered in my brain.. like yeah sure.. BTW .. I never knew that the drums were sos sparsely mic'd because they always sounded HUGE. It is AMAZING the talent in that recording studio. I wonder what instruments the Coffee Boy was playing.
Warren, I came to this post a bit late, but have a little bit of Beatles info, like every true Scouser. :D My uncle was a virtuoso guitarist until he lost a finger in an accident and never really played again. He knew of the Quarrymen and bumped into John and Paul around town and at dances that they would play. He apparently had a jam session with them right before they recorded at the studio I've linked below. I'm not certain if it was a QM session or an early Beatles one. Anyway, he maintains that he helped them with a chord progression that eventually ended up on a single release. His brother was a killer Hammond player too and was in great demand at the time. www.irishnews.com/magazine/entertainment/2018/07/10/news/recording-studio-of-first-ever-beatles-disc-to-be-featured-at-exhibition-1379125/
On the one hand, you wonder what the Beatles would have sounded like using today's recording technology but on the other hand, who knows, it might have ruined everything.
The drum toms to me on the original track always sounded like cardboard boxes, I noticed you deadened the hell out of the kit with towels draped over the top heads, real dry, With micing from the bottom, I noticed the the kit has the bottom heads on, how does that not ring overtones? unless you took the bottom heads off. thats always a cool technique to get that raw heavy sound. the approach to using the other instrument mic's open to achieve a "Bleed over" quality was very cool.Worth trying. Also interesting a Fender Princeton could achieve that tone. Im going to turn my drum heads inside out like your shirt to get "Classical".
Hi Dana, there is an email which is sent to the email address you provide with the link it. Let me know if you see it. If not please email me at warren@producelikeapro.com and I'll send you the link!
The irony is that the Beatles thought the REDD consoles looked awful, old, like a RAF bomber...they were actually into modern looking stuff, and would have been happy recording with an iphone. Now we have the iphone and of course we like vintage...those REDDs look so cool to us.
The "RAF bomber" quote is from a Paul McCartney interview on the "Complete Beatles Recording Sessions" book (off the top of my head). They probably thought they looked great in 62, and it is about the sounds, of course.@@Producelikeapro
paul said "we liked quality loss" (about overdub on a tape) So, I don't think so, they would like to have more tracks and stuff, but they liked analog sound, preamps valves ecc
Hi Friends, The Beatles, like many great bands of the era, tended to record live as a band, with each member baffled off from the other…far from the isolated performances we tend to capture these days, and yet it sounded incredible! Clay Blair, the head engineer and owner of Boulevard Recording, recreated engineer Geoff Emerick’s drum miking techniques which were used on nearly everything from Sgt. Pepper’s to Abbey Road. There weren’t even any room mics used for the drums! Any room tone heard was actually bleed from the guitar, bass, or vocal microphones. Check the video and let us know what you think!
One of the best sounds I ever got on a hard rock band was in a 1000 square foot studio, with about a 30 foot ceiling in San Francisco. It was a studio built for the video game company Sega to record their video game music. It was all concrete and live as hell. I put the drummer in a corner, and the Bass and Guitar amps off to either side, baffled off from the drums. Btw, all I had were dynamic mic's. I had SM57's for the guitar amp, snare, toms, and overheads, and Sennheiser MD-421's for the Bass amp, and kick. Massive sound. Bleed in you're recordings is a marvelous thing, at least for the basic tracks. Thanks for the great video Warren.
Man, you are one of the most pleasant people on earth - it's such a treat to hear you talk about this stuff because of the genuine enthusiasm you clearly have for the craft. Thank you for taking the time to explain this information!
So much misinformation on this. Where the hell does this guy get such wrong ideas. It’s common knowledge AR was the only solid state desk used for Beatles.
Thx Warren! Just watched the video of Clay's performance. Wow! Such a talented musician! So well done. Thanks both for the tour and mic techniques as well. Very informative and educational.
I second the J37 tape emulation plugin! The first time I ever used one I was in love (mainly for the saturation). Also, his mic bleed idea for people recording on their own is genius!
For future reference, you are allowed by law to play up to 15 seconds of any copyrighted recording and you are allowed to do your own full cover versions of copyrighted material.
Thanks ever so much for the comment! Unfortunately it’s a strike first and then appeal afterwards situation! However, we have worked around this now and for future videos I don’t expect there to be an issue. Many thanks Warren
I was a tape op at Air Studios both at Oxford Circus and Hampstead locations... back then Abbey Road was way off being the No. 1 studio. McCartney and Harrison went to Air coz George Martin based himself with us all the time late 80s early 90s.
@@Producelikeapro Warren... I went back to acting a couple of years ago (after a 25-year break), at Doncaster's Little Theatre, and the box office manager was one 'Yves Robinson'... she overheard me talking about my short time with Sir George whilst at Salford Uni, and then said, "Ready to have your mind blown? I was Studio Manager at Air Montserrat, from it's opening, till the Hurricane". Stories..? You should get her on the show mate. She's also uncredited backing vocalist on some of the biggest hits of the 80s.
I'm pretty sure that George is using regular string-bending on that solo, not slide. It wasn't until a little later he started playing slide in the studio. The only Beatles tracks with slide guitar I can think of is "Drive My Car" and "For You Blue" (the latter played by John).
Quote from Steve Jones: "It was all [recorded] on a Fender Twin as far as I remember. It was a special Twin that had Gauss speakers in there that made it very middy and not so trebly. I had a couple of Gibson Les Pauls as well: there was a black [1954] Les Paul [Custom] and my white [1974] Les Paul.”
I'm honestly genuinely frightened by the reality of how hard Jones had to push that Twin to get those tones. Poor Paul Cook must be fully deaf in his left ear.
This is gold. Very awesome and super detailed for nerds like me that devoured the Sessions and Gear books. quibble mode on] Clay's T-shirt is on inside-out. Needs to be an OCD warning LOL. Kidding. [/Quibble Mode Off] Glad to see the Ricky bass referenced, often missed in favor of the Hofner typically. A Left-handed Jazz bass was also in the arsenal by then (and a right-handed one as well as the Bass IV that Lennon & Harrison would use).
Great video with some wonderful insights. Great performance too from Clay, talented guy. The J37 is a great plug in too, I also blast it over everything, it adds so much warmth and body.
I do actually prefer the J37 to the Kramer or Slate tape emus. They have a pretty much binary tone apart from tape speed. The tonality on the J37 is so much more user-friendly. Plus the saturation is lovely on bass and drum busses
What he fails to mention is that the idea of DI was invented by Paul McCartney. The studio engineers were then tasked to create a way for McCartney to plug directly into the desk.
Kevin Richards RPM Vocal Studio very cool. Although that was 1967 for Sgt Peppers, I do know Ken Townsend thought it was the first use, however both Joe Meek in the early 60’s and of course Motown had used the DI’s before.
Just gotta say -- I just finished listening to the finished track and you guys absolutely NAILED IT. Your next challenge: can you duplicate your success entirely IN THE BOX using virtual drums, amp sims, and plug-ins??
Hey Guys ! Just a comment about the REDD Preamps and the TG desk misconception. From Recording The Beatles "Geoff Emerick also notes that the solid-state TG desk simply didn't allow him to record the drums the same way; he recalls being particularly frustrated at not being able to capture the same bass and drum sound as he had in the past. In fact, large portions of the album (Abbey Road) were tracked on the REDD.51 desk in Studio Three, but the TG certainly had an effect when mixing" Come Together was indeed recorded in studio 3 and ACTUALLY the famous 3M 8 track machines used on this album were not available so it was also recorded on the J37 tape machine. It was then dumped to the 8 track machine in studio 2 for the guitar solo, hand claps and the Rhodes piano solo. Hope this answers any misgivings ! Happy to answer any other questions I can as well regarding this session.
Thanks for making this video, and showing us all the different settings on the amps...very cool!
AMAZING bass sound you captured during this session!! Question: is that a modern Rickenbacker or a vintage bass? I have re-read Geoff Emerick's book many times, and it's important to let people know of his contribution to The Beatles' sound. Great video all round - well done to everyone involved.
It's a Rickenbacker 4001C64 which is their reissue of the Rick bass that McCartney had. The 64 vintage Rickenbacker basses are VERY rare.
Thanks for the info.
Assume these clips include all the bleed channels - correct?
The engineer has his shirt inside out. That confirms the guy knows his shit.
Haha I can't remember if he had a logo on it? But, yes, he does really know his schnitzel!
definitely knows his shit, but does he know his shirt?
Maybe Dirty on the other Side 😜
priorities!!
'invisible' nipple pads
Ringo was/is a left hand guy but plays a right handed kit, the drum pattern on the toms was played from right to left, starting on the floor tom.
Yeah I noticed that too, it kind of bothers me when people play it left to right even though I know its probably natural to play that way, but y'know
Yep, I have seen Ringo show how he played it in a video.
No way. Listen to the original. I know Ringo tells another story😊Anyway it’s the high pitch tom first. On TH-cam you can hear the isolated drums.
Best Regards
Bjarne
17:09 "I've never PERSONALLY had a good time with twins"
Wtf is that guy on
You gotta have someone else carrying them. Much better then!
I had a regular gig that I had to fly to once a month. The soundman had a twin for me as backline. He often asked me to turn down which was almost impossible without it becoming painfully clean. It had so much headroom.
That was Fab! (Sorry couldn't resist). The play-through via link, just amazing. Clay and you guys nailed it.
Haha thanks ever so much Chris!!
"Look at all the pretty colors!". I just want to be in that room man! This is the Kings gold, Warren. You are a very hard working but fortunate man.
Thank you ever so much! Yes, so much fun being able to do this with Clay! He's a great guy!
Man, plugging a Gibson guitar into a Fender amp really gives a nice bark and growl to the tone!
Thanks ever so much!
If you cut drums, and set up other mics such as the gtr amp mic, the bass amp mic, piano mic, just to get the bleed, or the “cheap bleed”, then you need to process those tracks just as you would if those tracks were “real”. Meaning you would have to process the gtr amp bleed mic the same as you would process the gtr. And pan it as such. Your options are incredible with the “cheap bleed” (as far as panning, eq, compression, volume, reverb) but the beauty about bleed is your stuck with it on there (after you’ve gone through lengths to minimize it) and then the bleed falls where it may. (Once you process and pan and place the other tracks). This to me that is the true beauty of bleed. There’s is much haphazardness involved that the lack of control, after recording, is special. Great video. Cheers
Perfect episode - could listen tio Clay talk about The Beatles for ever. Privilege to see inside the studio too.
Thanks ever so much Richard!!
And doesn't that Princeton Reverb sounds absolutely incredible :-)
That was super nice! Thanks both of you! :-D
Thanks ever so much Claudius!!
You guys (and gals) probably have the best, most fun jobs in the world! Massively interesting/entertaining/informative video too. Enjoyed it immensely, thanks.
Thanks ever so much! Yes, we are a collection of guys and gals! Not quite 50/50 but getting close! Haha
Phenomenal! Great video and the Clay Blair recording sounded superb!
Anyone else notice the neck on the Rickenbacker 4001? Dot fret markers, reverse headstock, and truss rod cover. Super cool, super rare bass!
Songs from Abbey Road that were recorded in Studio 3 at Abbey Road using the REDD.51 Desk NOT the TG Desk : Come Together, Oh Darling, Octopus's Garden, Something, The End.... "20 of the 36 tracking days were done in Studio 3 during Abbey Road." So even overdubs were done on the REDD desk on some songs as well. The only song NOT MIXED on the TG desk on Abbey Road was "She's So Heavy" Which was actually recorded at Trident but MIXED on the REDD.51 desk in studio 3.
Thanks ever so much fro the great detail and clarification Clay! You Rock my friend!
My mistake. I know that Brian Epstein had done a deal with VOX in the very early days that was an exclusive while he was still their manager, that's what influenced my comment.
I've had a few conversations with Richard Lush who was one of the Beatles engineers, he now lives in Sydney and has done since coming here to set up EMI Sydney.
abbey road was the first album with the tg solid state desk but i think the only one was in studio two so all the songs done not in studio two would have still been the redd desks the mixing was mostly done on the tg but alot of that sound from the redd desks are still in there i have a question also which redd desk from waves would be more beatles time period and more used by them the 37 or the 51 and for a beatles vibe would you reccomend using the redd or the tg?
Id say the REDD for Beatles vibe as 95% of their records were tracked on them. The 37 and 51 were used a lot. If you mean the REDD 17 plugin, that desk was only used on the first LP Please Please Me and used V72's instead of the REDD.47 preamp and lineamps, bit of a softer sound.
i ment did they use the 37 or the 51 more because one the wave version both are in the same plugin but u can toggle back and forth and i was wondering should which one was more authentic
I have the same approach as Clay on t-shirts too, before I change it I’ll just turn it inside out for another day of use. Great video again Warren.
Glad someone caught that :) Actually had split some coffee but hey flip it around, its a white shirt, its still there !!
Really interesting and given the limitation of a single player recording, and the size of the room the results were remarkably good. Great job!
One word. Great! :-) There is a real art to using restraint and not over-playing or over-producing an old classic using today's knowledge and skills.
Absolutely loved that !
Thanks ever so much Kenny!!
steve jones dimed his twin but he had gaus 2841 (rated @ 400 watt) speakers in it and he was goosing the front end with a mxr distortion plus . the gauss speakers developed a reputation for very high quality along with possessing the ability to drill holes through a rock wall with shear volume. Gauss was one of the speakers recommended by Mesa for the Mark I. To quote the original letter sent to Mark I owners:
"To get super performance from a Sixty watt model, we recommend the JBL K-120. Gauss and Electro-Voice EVM speakers also sound great in a Boogie and have a generally tauter, more rigid sound than the others."
this is the part of that story that gets left to the way side as a dimed fender twin with the stock speakers , not sure if that would have made it on to any recordings . interesting tidbit , the amp was stolen , i am not sure who was the original owner , but the the rumor was it was ripped off from a bowie show . i found a pair of these speakers at a resale , installed in some generic large triaxle living room sized stereo speakers with a 15 dollar price tag . they are incredible speakers .
Amazing video... since you’re taking it to this level of nerdy detail I feel the need to add that I’m pretty sure McCartney used tapewound rotosound 88 Tru Bass Strings to get the Abbey Road tone rather than conventional flats.
Underneath tom mics yes BUT he took the bottom heads off - on some of the Pepper tunes he actually put the mic inside jars to capture that crazy overtone
that was awesome, great video
The multiple tape bounces had a major impact on the sound.
Bleed in a good room can add a lot of dimension.
Emerick stated in several book that he almost never used bass D.I. I didn't know he used a C12 on bass though.
Putting the bass near the drums can help with timing issues; you get a more focused sound since the bleed delay is shorter.
They didn't have the Coles / STC ribbon mics back then? Emerick mentioned using ribbon mics a number of times, but I don't recall him specifying what model. I've seen other people from EMI in that period mention the STC, the forerunner to the famous Coles 4031 if I'm not mistaken.
Sadly there is a lot of misinformation out there. When UA came out with the Helios 69 EQ, they touted it as the board used on Abbey Road, but it wasn't until Emerick built the Apple studio that a Helios entered the scene; The Beatles weren't recording together by that time. Some of Harrison's solo debut was made there though.
I just recommended the J-37 to a community member last week.
Looks like my choice has been validated today. :)
I use it on buses.
Mike Lane I completely agree! That plugin has been part of my mix buss chain for over 5 years!
I discovered it almost 3 years ago. Of all the tape sims I've tried, it seems to do a superior job, so I went for it. I'm even more frugal than Warren claims to be LOL!
I don't open the wallet too easily. LOL!
It's also good for tracks or buses that have previous automations on them because you can adjust the output on it and bring it up or down to the desired level.
Haven't messed with the wow / flutter yet, messed with the tape / bias a little.
Default is usually fine.
Such a great plug !
Yeah Jay, a little distortion sounds pretty good on the kick, snare and toms. ;)
Great stuff Jay! Thanks for sharing the info!
Watched an interview with Ringo and he showed the drum fills were from the floor tom to the rack tom. I think it was easier to get back to the hi hat after the fill . Great video by the way
Its funny, I saw that too.... But Ringo's memory isn't as good as you might think... Its clear on the recording he did not go to the floor first. The floor is the very dead sounding drum that you hear in the verses, I actually have a stem of his drum track solo'd, I slowed it way down to make sure I got the combination right. What you see me do is what is on that recording.
Incredible stuff. Scary how close that is.
Great result! Sounds great. 😀👍🏻😮👌
Thanks ever so much! Clay did an amazing job!!
Produce Like A Pro yes he did! Very talented, and a great voice! Enjoyed the vid and result. 👍🏻😃🇦🇺✅
Great video, pretty much nailed it! Those Fender amps do have a certain sound when they break up even without any pedals.
Warren, thanks for your videos btw. Any opinion on which amp Paul might have run his Casino into for Here, There and Everywhere? Deluxe Reverb? I think maybe Bassman 6G6-B? I've never played that one so I wonder. It's such a brittle sound, probably a lot in production but what a gorgeous haunting tone I've been close but never achieving my entire life. For that matter was it the Casino? I've even thought so - source confirm that but sources are often wrong. He does/did own an Esquire which might achieve that sound.
Yes,Steve Jones used two silverface twins facing each other with a mike in between and the tremoloes set different from each other. Twins are too heavy for me now but if you turn em up past 8 they break up. Funny, now I use a 64;Princeton reverb for everything except festivals, outdoor gigs etc
Wow a Twin up to 8? I can't imagine how loud that is.
Great job guys!!!!
If I ever start a Green Day look-a-likey tribute band I want Warren for bass!
@Paul Lewis - Thank you for the synchronicity! I was watching several Green Day clips only minutes ago! :-))
well done Clay!
Agreed! Clay Rules!!
thanks Warren for all your initiatives
You're very welcome Uncle Hertz!!
That's pretty fantastic. Clay does an excellent job on the song. I miss those bleeds into tracks. Everyone tries to be so slick these days that they lose the magic of a band playing a good tune.
Thanks ever so much Jin!! Magic performance and an amazing song!
Whilst I was watching this, it was like a dream and I thought I understood everything, but when it finished it all evaporated and I was like a dog staring at a spanner once again.
gold!
I've been listening to Abbey Road in my car lately, and must say that this is a damn fine emulation. The main nitpick I can find is that the Rhodes on the original had one note out of tune, noticeable during the coda. Very interesting.
Clay has his t-shirt on inside out
Yes ! You're the 2nd that noticed :)
Saw that too. I think he is a good tech. Concentrates on the important stuff. “Clothes, why? Well, can’t go naked” lol
Maybe he has a logo that would need to be blurred?
Nah, it's all that time in the studio. Why waste time to wash n change when you can turn it inside out and get a few more days wear. ;)@@backspin6698
I wonder Backspin66 whether had a logo on it? I can't remember! Haha
Geoff Emerick said in his book that he used the new solid state console on Abbey Road. The Beatles allegedly complained about the sound because it wasn't what they were used to but they had to use the gear that was in the studio. So according to him, no tube pres were used in the making of the album.
Nope not the case. Anything on Abbey Road done in studio 3 had the REDD desk still in use. Come Together was done in studio 3, so it would be impossible that this was a TG desk. Its stated so in the Recording The Beatles book, as well as the track sheets. It was very likely mixed on the TG desk but definitely not recorded.
Thanks for the clarification Clay!
Hi The WolfBass, thanks for the message. I checked all references in 'Here, There and Everywhere' I didn't read that. Is there a specific page you are referring to? Many thanks!
Nailed the vintage sound!
love this audio geek out ! great
You guys were referring to EMI Studios Studios 2 & 3, but wasn't the album "Abbey Road" recorded at Trident Studios? GREAT job on the finished track/video by Clay btw!
You know - when u post a comment like that why don't you give a little explanation as to why you think that other studios were used that contradicts even the name of the album? ...When I first read your comment I thought 'And they named the album Abbey Road because....'? And then I thought 'Well no one is answering you because the whole point of this video is to recreate the sound from EMI's Abbey Road studios' - not Trident or Olympic. But then I did a little 'research' and yes, there is some mention that there was a little bit of early work done on a few of the songs at both of those other studios. It's unclear to me how much of that 'other studio' work found its way into the final product - but one thing is clear - the bulk of the work on the album 'Abbey Road' was done at EMI's Abbey Road studios. Which is why - ahem - they named the album Abbey Road' I would presume.
@@greenlightwilly You're right, I remembered it wrong. I was mixing it up with The White Album, where they used Trident for several songs. Looks like they only used Trident for one or two songs for the Abbey Road road. Sorry for the mix up.
already been done by the reo brothers from the Philippines in their small home studio and all LIVE
Holy shit what u learn watching u tube thanks u have answered a lot of questions I had.
Thanks ever so much Mark! Glad to be able to help!!
Awesome
Did Ringo play with the snare completely covered with the tea towel or was it halfway on like the Toms?
Where can I hear back the full track without paying?
Hi Mark, you can download the files for free!
hello at one point you say that paul recorded with DI for some things.. I'm kinda confused. How did they DI back then? Im not finding a lot on the subject but Im so curious. and if anybody knows please tell me. Thanks
Why is this guy "I think" or "I guess" where there is an entire book about all The Beatles's recording techniques, time, session stamps by EMI.
I would love to have that too but I think it's like 200 bucks
wonderful!
I just did a mix with the Redd17
AND other stuff but I love the simplicity of it
You do know there is a Edu exemption in copyright. TH-cam is paid to ignore this reality ad nausium. You acting as if this "fair use" doesn't exist, does not help.
“Fair use” is the right to use portions of copyrighted materials without permission for purposes of education, commentary, or parody.Dec 3, 2019
Would have loved to watch the finished song but your webpage cuts off the bottom and doesn't let you scroll down from a phone. So could click 😭
Click the button link below and it takes you to a couple of different places, it starts asking for you to fill out personal information....I'm not doing that
Excellent
are there 178,400 people that have this level of knowledge & understanding about the Fab Four's technology?
Mmh...no. Those are "views", not "people"...
This is weird.. I have been away from studio work for close to 30 years ( I went into Pc's ) and I just hit on this.. video And you are explaining the mic and the amps and using "the lingo" and your "the Cabs" just registered in my brain.. like yeah sure..
BTW .. I never knew that the drums were sos sparsely mic'd because they always sounded HUGE. It is AMAZING the talent in that recording studio. I wonder what instruments the Coffee Boy was playing.
Warren, I came to this post a bit late, but have a little bit of Beatles info, like every true Scouser. :D
My uncle was a virtuoso guitarist until he lost a finger in an accident and never really played again. He knew of the Quarrymen and bumped into John and Paul around town and at dances that they would play. He apparently had a jam session with them right before they recorded at the studio I've linked below. I'm not certain if it was a QM session or an early Beatles one. Anyway, he maintains that he helped them with a chord progression that eventually ended up on a single release. His brother was a killer Hammond player too and was in great demand at the time.
www.irishnews.com/magazine/entertainment/2018/07/10/news/recording-studio-of-first-ever-beatles-disc-to-be-featured-at-exhibition-1379125/
On the one hand, you wonder what the Beatles would have sounded like using today's recording technology but on the other hand, who knows, it might have ruined everything.
Agreed! Who knows? However the songwriting is what makes them amazing! As well of course the performances!
How do I watch the end video? I clicked the link and put in my details and it just thanked me didn't take me to a video.
Hey JimijaymesGuitarist! You'll be getting an email with the link.
The drum toms to me on the original track always sounded like cardboard boxes, I noticed you deadened the hell out of the kit with towels draped over the top heads, real dry,
With micing from the bottom, I noticed the the kit has the bottom heads on, how does that not ring overtones? unless you took the bottom heads off.
thats always a cool technique to get that raw heavy sound.
the approach to using the other instrument mic's open to achieve a "Bleed over" quality was very cool.Worth trying.
Also interesting a Fender Princeton could achieve that tone.
Im going to turn my drum heads inside out like your shirt to get "Classical".
Link to the finished song doesn't do anything once you click "Get Instant Access"
Don’t want to click the link below. Just wanted the song. Later.
Was the finished song video taken down? All I get (after entering my email three times) is a thank you page.
Hi Dana, there is an email which is sent to the email address you provide with the link it. Let me know if you see it. If not please email me at warren@producelikeapro.com and I'll send you the link!
I know...sorry. The "thank you" page threw me off! Wish I could afford a Chandler!
I fill the form but then I just get stock in the "thank you" page :/
Hi Perfect Straight! Check your email my friend! There will be a link to the email you entered!
Dat Roland Chorus Echo tho
Wish there was more detail about the Princeton...what year in particular.
Marvellous question! Let's see if Clay can answer that!
1967 ! Actually have a Rooftop spec twin since doing that video now :)
They only made blackface from 64 to 67. Got to be one of those years
How did they get those vocals? Sounds so crunchy
The nerd level of this video is seriously off the charts. I dig it though :)
Haha I love a high level of nerdiness! I relate to that wholeheartedly! Haha
hahahaha. Thanks for the laugh.
Fully agree) much respect
B.B. King and Doris Day, Matt Busby .... dig it 😉
Oh yeah, you can’t help but nerd out
I didn't understand this video at first, so I turned my t-shirt inside out and watched it again. Everything makes sense now. Thank you.
The irony is that the Beatles thought the REDD consoles looked awful, old, like a RAF bomber...they were actually into modern looking stuff, and would have been happy recording with an iphone. Now we have the iphone and of course we like vintage...those REDDs look so cool to us.
It's about the sound.
I love how they look Fer Abra! I'm not sure they disliked how they looked!
Agreed! It is ALL about the sound Timothy!
The "RAF bomber" quote is from a Paul McCartney interview on the "Complete Beatles Recording Sessions" book (off the top of my head). They probably thought they looked great in 62, and it is about the sounds, of course.@@Producelikeapro
paul said "we liked quality loss" (about overdub on a tape)
So, I don't think so, they would like to have more tracks and stuff, but they liked analog sound, preamps valves ecc
RIP, Geoff Emerick.
Yes, terrible news!! RIP Geoff Emerick!
Glyn John's underestimated genius
The guitar tones are uncannily close to the original, however the drums need more of that high mid crunchiness.
Thanks for sharing Czszy!!
Yes! The glyn johns-esque over heads with a mic on the bottom of the snare. Love it. Especially with the Abbey Road filter plugin on it.
Hi Friends, The Beatles, like many great bands of the era, tended to record live as a band, with each member baffled off from the other…far from the isolated performances we tend to capture these days, and yet it sounded incredible! Clay Blair, the head engineer and owner of Boulevard Recording, recreated engineer Geoff Emerick’s drum miking techniques which were used on nearly everything from Sgt. Pepper’s to Abbey Road. There weren’t even any room mics used for the drums! Any room tone heard was actually bleed from the guitar, bass, or vocal microphones. Check the video and let us know what you think!
Thank you ever so much for that MARVELLOUS video, Warren!
Thanks Reverend Eslam! I loved being able to do this!
'...and yet it sounded incredible'.... 'And yet'? Or 'therefore'? Great live performances have unbeatable vibe.
Exactly snippletrap! That's the exact point, not matter how you record it an amazing performance will always win!!
One of the best sounds I ever got on a hard rock band was in a 1000 square foot studio, with about a 30 foot ceiling in San Francisco. It was a studio built for the video game company Sega to record their video game music. It was all concrete and live as hell. I put the drummer in a corner, and the Bass and Guitar amps off to either side, baffled off from the drums. Btw, all I had were dynamic mic's. I had SM57's for the guitar amp, snare, toms, and overheads, and Sennheiser MD-421's for the Bass amp, and kick. Massive sound. Bleed in you're recordings is a marvelous thing, at least for the basic tracks. Thanks for the great video Warren.
man I would love to see something like this but on clash's "london calling" its my favourite production, nevertheless, amazing video!
Glauber Garcez that’s a fantastic idea!!
agreed
he really nailed that song!
Yes, Skylar, agreed! Clay did an amazing job!
Omg, that guitar sound is SPOT ON! Love this video!
Talks ever so much Ben! Yes, Clay did an amazing job!!
I would have liked to see something on the guitar solo. Doesn't sound like a Gibson. George's Strat or the rosewood Tele
Maybe with some delay?
@@doitnowvideosyeah5841 Lennons Casino perhaps? I had thought all the guitar work could have been just John?
The Chandler huy also has some funny ideas about how EMI modded the Altec compressors.
Man, you are one of the most pleasant people on earth - it's such a treat to hear you talk about this stuff because of the genuine enthusiasm you clearly have for the craft. Thank you for taking the time to explain this information!
Jesse Smith tanks ever so much my friend!!
What a bass sound... Sound so autentic and good amazing
Wow! This is absolutely incredible! Warren, how could you forget that mic!!! haha
Thanks ever so much Matthew!
I watched this twice!
Absolutely outstanding content!
Keep up the marvelous work, Warren and let's not forget the CREW.
I am SO pleased you covered this particular track. I LOVE the production (especially the drums) on this track
So much misinformation on this. Where the hell does this guy get such wrong ideas.
It’s common knowledge AR was the only solid state desk used for Beatles.
Thx Warren! Just watched the video of Clay's performance. Wow! Such a talented musician! So well done. Thanks both for the tour and mic techniques as well. Very informative and educational.
Fantastic Ken! I'm so glad you enjoyed it! Clay did an amazing job!!
I second the J37 tape emulation plugin! The first time I ever used one I was in love (mainly for the saturation).
Also, his mic bleed idea for people recording on their own is genius!
For future reference, you are allowed by law to play up to 15 seconds of any copyrighted recording and you are allowed to do your own full cover versions of copyrighted material.
Thanks ever so much for the comment! Unfortunately it’s a strike first and then appeal afterwards situation! However, we have worked around this now and for future videos I don’t expect there to be an issue. Many thanks Warren
'I've never had a good time with twins...' Haha! Also, amazing analogue gear, and here's some plug ins...
I was a tape op at Air Studios both at Oxford Circus and Hampstead locations... back then Abbey Road was way off being the No. 1 studio. McCartney and Harrison went to Air coz George Martin based himself with us all the time late 80s early 90s.
Fluctibus Fludd wow! Thanks ever so much for sharing your experiences
@@Producelikeapro Warren... I went back to acting a couple of years ago (after a 25-year break), at Doncaster's Little Theatre, and the box office manager was one 'Yves Robinson'... she overheard me talking about my short time with Sir George whilst at Salford Uni, and then said, "Ready to have your mind blown? I was Studio Manager at Air Montserrat, from it's opening, till the Hurricane". Stories..? You should get her on the show mate. She's also uncredited backing vocalist on some of the biggest hits of the 80s.
Pretty dead on! The ONE thing I would say is the original solo is with slide. George was a tripper...
lenny grasso wow! Thanks very much for the info!
Sounds like a strat, maybe with some delay?
I'm pretty sure that George is using regular string-bending on that solo, not slide.
It wasn't until a little later he started playing slide in the studio. The only Beatles tracks with slide guitar I can think of is "Drive My Car" and "For You Blue" (the latter played by John).
It’s fun to know what they did so you can cherry pick different approaches for your own stuff.
Exactly Tyler!
And once again, thank you Warren and Clay for sharing this with us. Marvelous as always
You're very welcome! Special thanks to Clay and Chandler for providing the equipment!
Quote from Steve Jones: "It was all [recorded] on a Fender Twin as far as I remember. It was a special Twin that had Gauss speakers in there that made it very middy and not so trebly. I had a couple of Gibson Les Pauls as well: there was a black [1954] Les Paul [Custom] and my white [1974] Les Paul.”
I'm honestly genuinely frightened by the reality of how hard Jones had to push that Twin to get those tones. Poor Paul Cook must be fully deaf in his left ear.
This is gold. Very awesome and super detailed for nerds like me that devoured the Sessions and Gear books.
quibble mode on] Clay's T-shirt is on inside-out. Needs to be an OCD warning LOL. Kidding. [/Quibble Mode Off]
Glad to see the Ricky bass referenced, often missed in favor of the Hofner typically. A Left-handed Jazz bass was also in the arsenal by then (and a right-handed one as well as the Bass IV that Lennon & Harrison would use).
Thanks ever so much Barry! I really appreciate your great comment!!
Great video with some wonderful insights. Great performance too from Clay, talented guy. The J37 is a great plug in too, I also blast it over everything, it adds so much warmth and body.
Thanks ever so much my friend! Yes, Clay is a wonderful guy, great insight and humility! Yes, I love that plug in!
I do actually prefer the J37 to the Kramer or Slate tape emus. They have a pretty much binary tone apart from tape speed. The tonality on the J37 is so much more user-friendly. Plus the saturation is lovely on bass and drum busses
Oh Boy !!!! Thank You Warren !!!!!!
Hi Ricky, thank YOU!!
I absolutely love this level of detail, and the knowledge and passion you guys have is fantastic.
And of course I'm a Beatles fan.
An excellent video.
I just geeked out massively watching this.
Really great video! Clay is talented and you guys pulled it off!...I'd swear I WAS LISTENING TO ABBEY ROAD!
What he fails to mention is that the idea of DI was invented by Paul McCartney. The studio engineers were then tasked to create a way for McCartney to plug directly into the desk.
Kevin Richards RPM Vocal Studio very cool. Although that was 1967 for Sgt Peppers, I do know Ken Townsend thought it was the first use, however both Joe Meek in the early 60’s and of course Motown had used the DI’s before.
Just gotta say -- I just finished listening to the finished track and you guys absolutely NAILED IT. Your next challenge: can you duplicate your success entirely IN THE BOX using virtual drums, amp sims, and plug-ins??
Aw shucks! Thanks ever so much Gordon! You Rock my friend!! Yes, Clay did an amazing job here!!