On Wed, Feb 15, 2006 at 11:08:21AM -0500, Dan Easley
wrote:
On 2/15/06, Brad Fuller <brad(a)sonaural.com>
wrote:
> > What's amazing to me is that they didn't have
access to an
8-track
> > until the White Album. Listen to
something
like
> > "I Am the Walrus" or
"Tomorrow Never Knows"
and imagine creating that on
a 4-track.
perhaps bouncing was their friend.
yeah, I believe they commonly would fill up one
4-track, then bounce
it to one or two tracks of their other 4-track,
fill that one up, and
do it again. man, i just wasn't made for
those
times.
Yes. You had to be really, really good at creating
submixes,
because once you'd comitted to one, you couldn't do
it over
without throwing away all your later work.
It helped that these 4-track machines were then
state-of-the-art
reel-to-reel devices. If you tried all that
bouncing on a
cassette portastudio, it'd sound like utter crap
real quick.
All hiss and no treble makes your mix a dull bore.
The other trick the Beatles had up their sleeve was
one of their engineers invention of automatick
doubling:
Of course, the real pioneer of all this stuff was
Les Paul.
He was bouncing eight guitar parts in 1947 on wax
discs.
He invented and paid for Ampex to build him an
eight-track reel to reel
overdub-capable machine in 1954. Nobody else had
eight tracks
until the mid sixties.
--
Paul Winkler
http://www.slinkp.com
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