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.
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
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!
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.
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
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.
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
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!
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.
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
You guys (and gals) probably have the best, most fun jobs in the world! Massively interesting/entertaining/informative video too. Enjoyed it immensely, thanks.
loved that clay talked about the compression and how it affected the kick and cymbal. its a sound ivebeen hearing for ever but have never been able to put my finger on
KILLIN' IT!!!! Just listened to the track on Vimeo... Clay totally SLAY'D IT!! Dude is totally Lennonesque. That was beautiful, thanks for sharing it with all of us :)
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.
warren man i simlly love you!!! i had to rely on internship at my time but look at you!!! you help all the beginner and intermediates to learn what happens in pro studios!! you are really an angel.... thank you...
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
Awesome feature, super in depth. The moment spent talking about the bass recording approach was Incredibly enlightening after 20 to 30 years of hearing that come together bass line, learning it as a term and wondering how it is exactly recorded and played. You all made Mark Lewisohn proud even! Well
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??
I love these plugins and I really love the user interfaces and how they look aged slightly. As a graphic designer I wish I had some resources on how to create these types of graphics, the knobs the sliders the housing and vu meters and such
@@Producelikeapro being a teen in late 80s and 90s I was drawn to late 60s and 70s music for some reason. I didn’t know then but I understand better now why the music sounded different to the slick 80s production I still hate nowadays
I've read and watched a lot about the RS 124 but have never heard the tidbit about the serial numbers and attack and release times. That's an amazing idea by Chandler Limited and only adds to the authenticity of the product
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
Hey guys thank you. I'm going get copies of these books. They sound like good reading. The recording sounded terrific !!!! Thank you very much for the presentation. You are definitely a Subject Matter Expert(SME).
another quick thing is Ringo played all 3 toms on this song, you can hear it especially on the new mixes. and they were defiantly full tea toweled on top, not hanging off. I've messed so much with both those techniques, you can def hear they are all the way on But thank you so much for this its so so cool!
Also, fun fact, he's left handed but sets up his kit like a right hander would. So he leads with his left hand and that's why his fills are more syncopated and just sliiiiightly behind the beat.
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.
Nice dudes, congtats to the video and the final result, you got it really close and nicely done. One thing I missed on it is that you didn't mentioned anything about the keys, witch gives a completely different vibe in the mood of this music. You could show him doing/recording the electric piano with more details, if it was microphoned, how you did it, etc.. but anyway, congrats to the job and you got a new fan from Brazil. Cheers!
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
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 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
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
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!!
I watched this twice!
Absolutely outstanding content!
Keep up the marvelous work, Warren and let's not forget the CREW.
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!
I am SO pleased you covered this particular track. I LOVE the production (especially the drums) on this track
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.
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?
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!!
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
He played come together descending. Even though he says he didnt lol. Old fella cant remember too well. The high pitch toms are first, not the floor
"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!
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.
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.
Love this Beatles stuff. So glad I found your channel
Thanks ever so much
Great interview and secrets!!!
Thanks ever so much!
That was super nice! Thanks both of you! :-D
Thanks ever so much Claudius!!
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
he really nailed that song!
Yes, Skylar, agreed! 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!
Wow - hats off! The work, not to mention the research that went into this is really impressive. The final product is really quite amazing.
Thanks ever so much Justin!! You Rock!
Went and watched the finished product on Vimeo. Its amazing how close the audio quality is to the original. Great job
I listened to your full recording. Wow, it's amazingly similar to the beatles recording. Well done!
I agree! Clay did a wonderful job!
It was really awesome you guys could come together right now to do this. Really interesting... cheers!!
Thanks ever so much Jonas! You Rock!
Amazing as always! Clay, thank you for the history and education!
Hi Scott Myers yes! Clay did an amazing job!!
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 just geeked out massively watching this.
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
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
What a bass sound... Sound so autentic and good amazing
loved that clay talked about the compression and how it affected the kick and cymbal. its a sound ivebeen hearing for ever but have never been able to put my finger on
Really great video! Clay is talented and you guys pulled it off!...I'd swear I WAS LISTENING TO ABBEY ROAD!
KILLIN' IT!!!!
Just listened to the track on Vimeo... Clay totally SLAY'D IT!! Dude is totally Lennonesque. That was beautiful, thanks for sharing it with all of us :)
Thanks Jonas !!
I agree Jonas! Clay did an amazing job!!
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 :-)
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.
Wow! This is absolutely incredible! Warren, how could you forget that mic!!! haha
Thanks ever so much Matthew!
Phenomenal! Great video and the Clay Blair recording sounded superb!
warren man i simlly love you!!! i had to rely on internship at my time but look at you!!! you help all the beginner and intermediates to learn what happens in pro studios!! you are really an angel.... thank you...
Thanks ever so much Facade! I really appreciate your kind words!
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
Some fantastic talent involved in every aspect of this video. Thanks so much!
Oh Boy !!!! Thank You Warren !!!!!!
Hi Ricky, thank YOU!!
Incredible! Such knowledgeable people! Thanks Warren and Clay!
Thanks ever so much!!
Awesome feature, super in depth. The moment spent talking about the bass recording approach was Incredibly enlightening after 20 to 30 years of hearing that come together bass line, learning it as a term and wondering how it is exactly recorded and played.
You all made Mark Lewisohn proud even!
Well
when its about the Beatles im in.
Thanks ever so much!
Thanks guys. This was crazy good. Very insightful. Loved it.
Wow, great video! Love the beatles. That bass sound is dead on :-)
Thanks ever so much Martin! Agreed 100%! Great sound!
I was an intern at this studio back when it was called Westbeach. Awesome room!
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!!
I love these plugins and I really love the user interfaces and how they look aged slightly. As a graphic designer I wish I had some resources on how to create these types of graphics, the knobs the sliders the housing and vu meters and such
Anyone else notice the neck on the Rickenbacker 4001? Dot fret markers, reverse headstock, and truss rod cover. Super cool, super rare bass!
WOWOWOWOWOWOWOW Damn I just watched the finished video, SO GOOD! rock on :)
This is amazing!!! Gorgeous post!!! Thank you for this
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
Very very nice indeed. Marvellous job.
Thanks ever so much Andy!!
Really interesting and given the limitation of a single player recording, and the size of the room the results were remarkably good. Great job!
love this thank you. its always good to know there's other people in the world who care about this stuff
Thanks ever so much
@@Producelikeapro being a teen in late 80s and 90s I was drawn to late 60s and 70s music for some reason. I didn’t know then but I understand better now why the music sounded different to the slick 80s production I still hate nowadays
Fantastic watch and fascinating lesson. The end result is superb!
Thanks ever so much!!
Hats off to Mr Blair there mind, talk about attention to detail, he’s absolutely nailed on every single part and nuance of the song. How fantastic!
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 !!
9:00 now thats a nice bass tone. Great video! thanks for sharing.
The cover is so good. Really well played. A true homage to the people, the time, the equipment, and the place.
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.
A labour of love. This is great. Thanks so much.
I've read and watched a lot about the RS 124 but have never heard the tidbit about the serial numbers and attack and release times. That's an amazing idea by Chandler Limited and only adds to the authenticity of the product
Great video :D and the track sounds amazing, thanks!
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
Thanks a lot keep up the good work I can’t get enough of this
Hey guys thank you. I'm going get copies of these books. They sound like good reading. The recording sounded terrific !!!!
Thank you very much for the presentation. You are definitely a Subject Matter Expert(SME).
Thanks ever so much Ricky!! You Rock my friend!!
Man, plugging a Gibson guitar into a Fender amp really gives a nice bark and growl to the tone!
Thanks ever so much!
I always use the J37 on my master fader, it really ties everything together well, the best thing is I got it in sale for $29!
another quick thing is Ringo played all 3 toms on this song, you can hear it especially on the new mixes. and they were defiantly full tea toweled on top, not hanging off. I've messed so much with both those techniques, you can def hear they are all the way on But thank you so much for this its so so cool!
Very well done. Awesome equipment you have there.
Just had a look at the Vid, well done Mate, Bang on!
Thanks ever so much my friend!!
First CD I ever bought was the Beatles 1967-1970, always get goosebumps listening to those songs
Just watched the Video....Totally outstanding!!!!!! blown away
I have absolutely no idea what you're talking about but it's sure fascinating.
Haha thanks ever so much Bradley!
You guys are recreating legends
Thanks ever so much
Ringo is so unique that every drummer under the sun forget that the Come Together fill is the other way around. Starts on the floor ton
Also, fun fact, he's left handed but sets up his kit like a right hander would. So he leads with his left hand and that's why his fills are more syncopated and just sliiiiightly behind the beat.
Right!!!
Wow the video is fantastic. It sounds incredible.
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.
Fascinating stuff, thanks for posting and keep up the great work.
The video I've always wanted!
Thanks ever so much Calero!! Glad to be able to help!
Awesome Video Dudes!!!
Thanks ever so much my friend!
'I've never had a good time with twins...' Haha! Also, amazing analogue gear, and here's some plug ins...
The J37 is a stellar plugin, I've used it in every project I've done since I bought it
Hi Aidan! Agreed! Fantastic plugin!
Hi Warren! Fantastic spelling of my name!
Absolutely loved that !
Thanks ever so much Kenny!!
Excellent video, bravo!
Thanks ever so much Jacob!!
Great tip about keeping the other mics live for a bleed sound. Thanks Warren.
that was awesome, great video
The Chandler huy also has some funny ideas about how EMI modded the Altec compressors.
"NERDS"!!!!!!!.......a very eloquent quote from Orge...thank you guys this is really remarkable
Haha thanks ever so
Great video, pretty much nailed it! Those Fender amps do have a certain sound when they break up even without any pedals.
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.
Voay absolutely knows his stuff! 🥁❤️🥁
Fantastic Warren, Clay and team !! Finished mix is awesome. Beatles nerds . . . (Berds?) :-)
Thanks ever so much my friend! Glad to be able to help! Clay Rules!!
wow another great video ,thank u Warren
Nice dudes, congtats to the video and the final result, you got it really close and nicely done. One thing I missed on it is that you didn't mentioned anything about the keys, witch gives a completely different vibe in the mood of this music. You could show him doing/recording the electric piano with more details, if it was microphoned, how you did it, etc.. but anyway, congrats to the job and you got a new fan from Brazil. Cheers!