Of all the Beatles facts, this one still astounds me...

[Gustavus Adolphus]

No, because you are an idiot, but even an idiot like you might understand this

http://www.mojo4music.com/14018/10-most-technically-amazing-beatles-songs/

Ommy..The credit for all that goes to George Martin..He produced nearly all of the Beatles records.. They played the parts, and he and the engineer put em together

 

[Gustavus Adolphus]

Studio engineers and producers have influenced every recored ever recorded.

Correct...Which is why the artist shouldn't be praised for something he had little if any input on,as you did with the Beatles

 

[Gustavus Adolphus]

Nonsense, Paul and John were both intimately involved with the production aspects of their records and offering suggestions and tons of input on what they wanted. There are many books that describe the process they used in incredible detail on every song they recorded. Maybe you should read a few of those books before you talk. I own those books

Again...George Martin produced nearly every recording the Beatles made. Did they offer a suggestion or two?..Im sure they did, but which suggestions and on what recordings?..I nor you don't know and it's foolish to suggest otherwise...The production of all the technical aspects of the Beatles songs went to George Martin..Unlike the Beach Boys who later on were produced by Brian Wilson who was a mmber of the band



http://en.wikipedia.org/wiki/George_Martin





As an arranger[edit]

Abbey Road Studios, where Martin recorded Parlophone's artists
Martin's musical expertise helped fill the gaps between the Beatles' raw talent and the sound they wanted to achieve. Most of the Beatles' orchestral arrangements and instrumentation (as well as frequent keyboard parts on the early records) were written or performed by Martin in collaboration with the band.[34] It was Martin's idea to put a string quartet on "Yesterday", against McCartney's initial reluctance.[34][35] Martin played the song in the style of Bach to show McCartney the voicings that were available.[36] Another example is the song "Penny Lane", which featured a piccolo trumpet solo. McCartney hummed the melody he wanted, and Martin notated it for David Mason, the classically trained trumpeter.[37]
Martin's distinctive arranging work appears on many Beatles recordings. For "Eleanor Rigby" he scored and conducted a strings-only accompaniment inspired by Bernard Herrmann. On a Canadian speaking tour in 2007, Martin said his "Eleanor Rigby" score was influenced by Herrmann's score for the Alfred Hitchcock thriller, Psycho.[38] For "Strawberry Fields Forever", he and recording engineer Geoff Emerick turned two very different takes into a single master through careful use of vari-speed and editing.[39] For "I Am the Walrus", he provided a quirky and original arrangement for brass, violins, cellos, and the Mike Sammes Singers vocal ensemble.[40][41][42] On "In My Life", he played a speeded-up baroque piano solo.[43] He worked with McCartney to implement the orchestral 'climax' in "A Day in the Life" and he and McCartney shared conducting duties the day it was recorded.[44]
He contributed less noted but integral parts to other songs, including the piano in "Lovely Rita",[45] the harpsichord in "Fixing a Hole", the organs and tape loop arrangement that create the Pablo Fanque circus atmosphere that Lennon requested on "Being for the Benefit of Mr. Kite!" (both Martin and Lennon played organ parts for this song), and the orchestration in "Good Night".[46][47][48] The first song that Martin did not arrange was "She's Leaving Home", as he had a prior engagement to produce a Cilla Black session, so McCartney contacted arranger Mike Leander to do it. Martin was reportedly hurt by this, but still produced the recording and conducted the orchestra himself.[49] Martin was in demand as an independent arranger and producer by the time of The White Album, so the Beatles were left to produce various tracks by themselves.[50]
Martin arranged the score for the Beatles' film Yellow Submarine[51] and the James Bond film Live and Let Die, for which Paul McCartney wrote and sang the title song.[52]
Paul McCartney once commended Martin by saying: "George Martin [was] quite experimental for who he was, a grown-up

 

[HeHateMe]

Again...George Martin produced nearly every recording the Beatles made. Did they offer a suggestion or two?..Im sure they did, but which suggestions and on what recordings?..I nor you don't know and it's foolish to suggest otherwise...The production of all the technical aspects of the Beatles songs went to George Martin..Unlike the Beach Boys who later on were produced by Brian Wilson who was a mmber of the band



http://en.wikipedia.org/wiki/George_Martin





As an arranger[edit]

Abbey Road Studios, where Martin recorded Parlophone's artists
Martin's musical expertise helped fill the gaps between the Beatles' raw talent and the sound they wanted to achieve. Most of the Beatles' orchestral arrangements and instrumentation (as well as frequent keyboard parts on the early records) were written or performed by Martin in collaboration with the band.[34] It was Martin's idea to put a string quartet on "Yesterday", against McCartney's initial reluctance.[34][35] Martin played the song in the style of Bach to show McCartney the voicings that were available.[36] Another example is the song "Penny Lane", which featured a piccolo trumpet solo. McCartney hummed the melody he wanted, and Martin notated it for David Mason, the classically trained trumpeter.[37]
Martin's distinctive arranging work appears on many Beatles recordings. For "Eleanor Rigby" he scored and conducted a strings-only accompaniment inspired by Bernard Herrmann. On a Canadian speaking tour in 2007, Martin said his "Eleanor Rigby" score was influenced by Herrmann's score for the Alfred Hitchcock thriller, Psycho.[38] For "Strawberry Fields Forever", he and recording engineer Geoff Emerick turned two very different takes into a single master through careful use of vari-speed and editing.[39] For "I Am the Walrus", he provided a quirky and original arrangement for brass, violins, cellos, and the Mike Sammes Singers vocal ensemble.[40][41][42] On "In My Life", he played a speeded-up baroque piano solo.[43] He worked with McCartney to implement the orchestral 'climax' in "A Day in the Life" and he and McCartney shared conducting duties the day it was recorded.[44]
He contributed less noted but integral parts to other songs, including the piano in "Lovely Rita",[45] the harpsichord in "Fixing a Hole", the organs and tape loop arrangement that create the Pablo Fanque circus atmosphere that Lennon requested on "Being for the Benefit of Mr. Kite!" (both Martin and Lennon played organ parts for this song), and the orchestration in "Good Night".[46][47][48] The first song that Martin did not arrange was "She's Leaving Home", as he had a prior engagement to produce a Cilla Black session, so McCartney contacted arranger Mike Leander to do it. Martin was reportedly hurt by this, but still produced the recording and conducted the orchestra himself.[49] Martin was in demand as an independent arranger and producer by the time of The White Album, so the Beatles were left to produce various tracks by themselves.[50]
Martin arranged the score for the Beatles' film Yellow Submarine[51] and the James Bond film Live and Let Die, for which Paul McCartney wrote and sang the title song.[52]
Paul McCartney once commended Martin by saying: "George Martin [was] quite experimental for who he was, a grown-up

I was wondering when the Beach Boys would be brought up. I love the Wall of Sound.

 

[Gustavus Adolphus]

What's interesting is that the creation of Beatles music is the most documented of any artist or band. These books painstakingly detail what recording equipment was used, who created what parts of the song, dates, etc

And I bet they document that the producer of almost every Beatles song was George Martin..If they don't, take em back for a refund.If you have had any experience with recording, which I'd bet you haven't, you would know that the musicians play the song, the producer decides which instruments will be used and where they will e placed in the song, the engineer records it as instructed by the producer, and everyone is happy.

Everyone except Ommy that is



Just so Ommy and his friends know WHAT a record producer is...



http://en.wikipedia.org/wiki/Record_producer





"A record producer is an individual working within the music industry, whose job is to oversee and manage the recording (i.e. "production") of an artist's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or musicians, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process through mixing and mastering. Producers also often take on a wider entrepreneurial role, with responsibility for the budget, schedules, contracts and negotiations."


"In most cases the music producer is also a competent arranger, composer, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer often selects and/or gives suggestions to the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools and creates a stereo and/or surround sound "mix" of all the individual voices sounds and instruments, which is in turn given further adjustment by a mastering engineer. The producer will also liaise with the recording engineer who concentrates on the technical aspects of recording, whereas the executive producer keeps an eye on the overall project's marketability."

Last edited by BearsBud; Yesterday at 03:26 PM.

 

[Gustavus Adolphus]

Your use of absolute is laughable. No producer had this kid of control on a Rolling Stones, Led Zeppelin or Neil Young album. The bands made those decisions and the producer had minimal input

Ummmm...Yes they did,unless said artist acted as their own producer,which the Beatles did not. They had George Martin for that.,.The CD should say who produced the disc

 

[Gustavus Adolphus]

Why are there missing posts in this thread?

 

[HeHateMe]

Why are there missing posts in this thread?

Yes, but I think it was all worth it.

Any thoughts on the Wall of Sound?

All I see is a Wall of Wikipedia right now...

 

[Gustavus Adolphus]

I'm a Beatles fan.

I'm meh on Clapton.

And if only the good die young, Billy Joel will live to 112.

 

[Omeletpants]

Yes, but I think it was all worth it.

Any thoughts on the Wall of Sound?

All I see is a Wall of Wikipedia right now...

Here is an example of Phil Spector's Wall of Sound. The incredible Darlene Love on vocals. The wall really kicks in at 3:10

[video=youtube;1W3C_xOPT9M]https://www.youtube.com/watch?v=1W3C_xOPT9M&spfreload=10[/video]

 

[Nail Polish]

Ommy...Who was responsible for that wall of sound?..Was it Darlene Love or the record producer Phil Spector?

 

[Nail Polish]

6 minutes clockwork

 

[Omeletpants]

Ommy...Who was responsible for that wall of sound?..Was it Darlene Love or the record producer Phil Spector?

What kind of stupid fucking question is that?

 

[Nail Polish]

No, because you are an idiot, but even an idiot like you might understand this

http://www.mojo4music.com/14018/10-most-technically-amazing-beatles-songs/

Ommy..The credit for all that goes to George Martin..He produced nearly all of the Beatles records.. They played the parts, and he and the engineer put em together

Nonsense, Paul and John were both intimately involved with the production aspects of their records and offering suggestions and tons of input on what they wanted. There are many books that describe the process they used in incredible detail on every song they recorded. Maybe you should read a few of those books before you talk. I own those books

What kind of stupid fucking question is that?

Only you would know..Read above..Basically, the question reflects your stupid assumption that the Beatles were responsible for their recordings


:lmao:

 

[HeHateMe]

Here is an example of Phil Spector's Wall of Sound. The incredible Darlene Love on vocals. The wall really kicks in at 3:10

[video=youtube;1W3C_xOPT9M]https://www.youtube.com/watch?v=1W3C_xOPT9M&spfreload=10[/video]

Thanks for this, I'm more familiar with Brian Wilson's use of Spector's techniques so I look foward to checking this out when I get home. Is this an early work?

 

[Omeletpants]

BearsBud, when you first started posting on this forum I thought you were a fucking moron. Then, for a decent amount of time you were a human being. Now you are just back to being a fucking moron.

 

[Nail Polish]

BearsBud, when you first started posting on this forum I thought you were a fucking moron. Then, for a decent amount of time you were a human being. Now you are just back to being a fucking moron.

Call me what you want...but I'm RIGHT...George Martin was responsible for the Beatles recordings..Just like Phil Spector was responsible for Darlene Loves and the wall of sound

It's the record producer that runs the studio..Not the other way around




Now...go suck off McCartney first, and then Clapton..And burn those shitty books you overpaid for

 

[Nail Polish]

Now..I hope Ommy has burned all those dumb books he bought

 

[Nail Polish]

With all the bullshit in this thread incredibly Scoot may be making the most sense

This certainly made no sense
He (McCartney) is arguably the most important person in rock history

 

[bearmick]

theres nothing astounding about the beatles they were mediocre at best at everything

That can be said about the actual sound of their music, but they completely revolutionized the genre of rock n roll. Music today would be much different without the Beatles.

nope elvis breh elvis is who we need to thank

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