![]() "For the first time I could record drums in stereo and spread the instruments out properly." There is, at best, a fine line dividing the sessions for Let It Be and Abbey Road. ![]() "It gave me a great deal more flexibility with positioning things in the mix," he says. (Though the Beatles had been recording to eight-track since the previous September, Emerick had not worked with them since the previous July.) Like the console, the eight-track recording deck installed in the studio opened up all sorts of new creative possibilities for Emerick. The benefits for McCartney are most evident on I Want You (She's So Heavy) and especially on Something, where his bass lines move in smooth counterpoint to Harrison's vocal, shadowing, rather than competing with or overpowering them. The new console's low-end clarity produced more distinct bass tones, capturing the supple tones of McCartney's bass without turning the bottom end of the frequency spectrum into mush.
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