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- We actually started mixing it last December, and I got to January and said, "This sounds terrible. It's too clean."
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Nov 2, 2023 · Giles Martin details the making of the Beatles' last single, 'Now and Then' and what it means to have fresh remixes of '1962-66' and '1967-70' tracks.
From what I've analyzed, the original 1966 mix used a very heavy compression in the mix. They didn't only used the downward compression but upward compression too, which means the spectrum below the threshold will be boosted to the threshold range.
Nov 10, 2018 · Giles Martin on mixing The Beatles' White Album: 'It slaps you in the face' Apple Corps Ltd. No singles were released from The White Album - but it contains some of the band's best-known...
- ‘Taxman’
- ‘Eleanor Rigby’
- ‘I’m only Sleeping’
- ‘Love You To’
- ‘Here, There, and Everywhere’
- ‘Yellow Submarine’
- ‘She said, She Said’
- ‘Good Day Sunshine’
- ‘And Your Bird Can Sing’
- ‘For No One’
“‘Taxman’ is the first time a Georgesong opens up a Beatles album, and it’s obviously an iconic opening. It was the first one we started work on – it was the first one that proved to me that we could do this. It’s easy to take an album that people have known for so long for granted, and you listen to it now and think ‘oh my god this is truly ground...
“‘Eleanor Rigby’ stemmed from the Psychoscore [Alfred Hitchcock’s 1960 horror], and that’s why it’s such strident strings… I can’t think of another song by a band which just has strings or voices on it which isn’t seen as prog or classical. It’s very unusual. It doesn’t seem like an odd song because it’s so familiar, but it really is.” People don’t...
“They would have only had half the album if it wasn’t for Paul. John had this innate unbelievable genius and talent, but he also liked to chill out. ‘I’m Only Sleeping’ is classic John, if you think about it. They’d rejected being the Fab Four and gone from the ‘topper-most of the popper-most’ to ‘sod that, we’re going to be individuals’.”
“It shows what George was bringing to the band, and also how the band accepted it. This album is an album of everyone’s acceptance and everyone’s ideas, and it shows how George had progressed as a sitar player compared to ‘Norwegian Wood (This Bird Has Flown)’ [from 1965’s ‘Rubber Soul’]. People didn’t think at the time it was him playing sitar on ...
“The thing about this song is it canbe overlooked – it feels like it’s always been here, like a standard. It was also my dad’s favourite song of Paul’s and is one of Paul’s favourite songs of his own. Paul talks about an old song [‘Anything Goes’ by Cole Porter] as an influence for this one.”
“With ‘Yellow Submarine’, we didn’t realise it was a John idea to begin with. The pencil drawing – as I like to call it – of the song, is John singing ‘In the town where I was born, no one cared, no one cared’, so quite a dark lyric, more like a Woody Guthrie song, and on this journey through the demos, you hear Paul’s influence: ‘great melody, let...
“People say ‘Oasissound like The Beatles’ but Oasis don’t sound like The Beatles, they sound like ‘She Said’ and ‘Rain’. The thing to notice on this song is how John has started changing his vocals – he’s almost singing in different ways. The [vocals] change, just like the drumming styles on ‘Revolver’ change all the time: the drums on ‘Dr Robert’ ...
“Interesting arrangement, this, and for a simple sounding song there’s an interesting time signature in the chorus. At the time, there was this trend of summer songs like ‘Sunny Afternoon’ by The Kinksand ‘Daydream’ by The Lovin’ Spoonful, and Paul wanted to write something sunny too. There are very few outtakes of this. They knew exactly what they...
“What’s intriguing about ‘And Your Bird…’ is the early demos show how much it was meant to be a Byrds song. It’s like that classic line from Douglas Adams [author of The Hitchhiker’s Guide To The Galaxy]: “There is an art to flying, or rather a knack. The knack lies in learning how to throw yourself at the ground and miss.” And sometimes the secret...
“One of my favourite Paul songs. There’s a French horn on this song, and the player had to hit an incredibly high note that he could only do a couple of takes of. In classic Beatles style, Paul said, ‘well he can do it, can’t he?’ After a couple of goes, my dad said: ‘yes, but I don’t think we can make him do it again’. It’s such a beautiful song. ...
- Matt Charlton
Oct 11, 2022 · Originally developed for the Get Back documentary series, and later used by Paul McCartney so that he could ‘duet’ with John Lennon at the Glastonbury Festival, Peter Jackson’s AI-powered audio separation technology has now been called upon by producer Giles Martin for his new stereo mix of The Beatles’ Revolver album.
Apr 4, 2023 · Created at Abbey Road Studios by Giles Martin and Sam Okell, production, engineering and mixing; Sean Magee, Thomas Hall, Alex Wharton, and Miles Showell, mastering; the newly remixed and remastered Revolver was released on October 28, 2022, to near-universal praise.
Last month, in Abbey Road's legendary Studio 3, Giles Martin performed a magic trick. He was there to unveil something that should have been technically impossible - a remixed, reinvigorated...
