1966 　Contents 　1968

1967

The beginning of the studio era


January 2, 1967		 'When I'm Sixty-Four' (RM8) and 'Strawberry Fields Forever' (RM12) and to tape copy, shipped to the United States in the next three days.

The above information is inaccurate, and a tape copy of'Strawberry Fields Forever' (RM12) was recorded on December 30th of the previous year. Also, the contents of work on January 2 and 3 (written by Mr. Luisson in "Chronicle") are not clear.

In any case, at this point, single song candidates have been confirmed.

Single replacement

Due to Brian Epstein's melancholy, the replacement of the single song, which had been confirmed the day before, is happening!

January 4, 1967		 Added piano, guitar and vocals (replaced the next day) to'Penny Lane' .

January 5, 1967		Recording session.
  • 'CARNIVAL OF LIGHT' (1st take only, 13'48")
    Composition: Distorted drums, organ, guitar, John and Paul screaming, tambourine, church organ and gargle with water.
Mono-mixing of'CARNIVAL OF LIGHT'.

January 6, 1967		 Rhythm section (bass, guitar, percussion, drums) added to'Penny Lane' .
Mix down'Penny Lane' to 2 tracks (8th take).
Added John and Martin piano, chorus, etc. to'Penny Lane' .
Mixdown'Penny Lane' to 2 tracks (9th take).

January 9, 1967		 Add backing orchestra (4 flutes, 2 trumpets, 2 piccolo, 1 flugelhorn) to'Penny Lane' .
Mono- mixing'Penny Lane' (for work confirmation).

January 10, 1967		 Added chorus and sound effects (firebell handbell) to'Penny Lane' .

January 11, 1967		Paul watches Bach's second performance of Brandenburg Concerto at midnight.

January 12, 1967		 Add interlude orchestra (2 trumpets, 2 oboe, 2 english horns, 1 double bass) to'Penny Lane' .
'Penny Lane' is mono mixed (RM7 & RM8).
Paul, who likes the high-pitched trumpet I heard the day before, asks Martin if I can use it. Since the piccolo trumpet player (Martin calls "Bach Trumpet") was Martin's acquaintance David Mason, he immediately booked himself and an additional recording is done on 1/17.

January 17, 1967		 Two articles are published in the daily mail (newspaper) of the day.
  1. Top article that Guinness's son-in-law died in a car accident (accident was December 18th of the previous year)
  2. A story that there are 4000 dimples on the road in Blackburn, Lancashire that have to be repaired (found on January 7).
A piccolo trumpet of A pipe (key B is recorded because I play the music of key D) is added to'Penny Lane' .
Mono-mixing of'Penny Lane' (RM9-RM11).
'Penny Lane' (RM11) has been tape-copied and sent to the US for release as a promotional single.

"LONELY HEARTS CLUB BAND"

Almost two months have passed since the session started. Only 3 songs were completed and 2 of them were used as singles, so this is the real album session.
'A Day In The Life' is co-written by John with his Daily Mail at Paul's house in Cavendish Avenue. Since the article cited by John was published on January 17, it is presumed that the song was composed on January 18, the day before recording.
John composes a daily mail against the piano. The lyrics are constructed with the movie "HOW I WON THE WAR" in which he appeared on two articles, butthe expression "I'd love to turn you on" is Paul's contribution and Albert. The idea of "filling" a hole with holes came from Terry Dolan at the recording stage, he said.
Paul says that when John presented the original idea, the second lyrics were unfinished. He said that he wrote "how many holes in Blackburn, Lancashire" together while looking at the newspaper (maybethis was the motivation for "Fixing A Hole" ), and then "Woke up ~" was on hand. I think that it fits and incorporate it into the song.
The crescendo of the interlude is John's idea, but in the process of setting details, Paul and Martin are also involved in the examination. Also, during the actual recording, Alan Civille, who played the French horn in'For No One' , andDavid Mason, who played the piccolo trumpet in'Penny Lane' , cooperated to support the confused orchestra player. Has been done.
The 40-person orchestra originated with an apple joke ("If hiring a full 90 orchestra costs half, you can hire half and play twice."). As a result, the orchestra of 40 people will record four times each (interlude and ending) for a total of 160 people.
⇒'A Day In The Life' session
'Sgt. Pepper's Lonely Hearts Club Band' is Paul's sole work, and the idea of ​​Sgt. Pepper was born in the plane returning to London from the vacation in Kenya immediately after the Beatles stopped live activity ( ⇒ 1966/11/ 19 ). The concept is to act as a band led by Sgt. Pepper instead of themselves who stopped the band activities.
'Lonely Hearts Club' follows the long band name that was popular on the West Coast of the United States (John) and is named as "crazy enough" among several candidates.
In addition, in this song, John is in charge of the guide bass, and the procedure of replacing the pole is taken, but in order to prevent other microphones from picking up John's performance, DI (Direct Injection, direct without passing amp) Connection).
⇒'Sgt. Pepper's Lonely Hearts Club Band' session
Reverse with Paul
Reverse progression (repeating C-G-D-A-E) is used in the bridge part from "A Day In The Life" to Paul part to John part . In general, the standard is a five-degree progression (the flow in which a dissonant settles into a consonant), and it is presumed that the reverse is influenced by jazz.

It was once used in the ending (D-A-E) of'You're Going To Lose That Girl', but this is a coincidence. However, it is used everywhere in "SGT. PEPPER" , and it is obvious that Paul has acquired a new composition method.

(Reference)
'Lovely Rita' (D-A-E)
'She's Leaving Home' (E-Bm-F#m-C#m)
'With A Little Help From My Friends' (E-B-F#m, D-A-E)

January 19, 1967		 "SGT. PEPPER" session.
All four takes have the same content, and Maru Evans has a middle-counting voice from 1 to 24 and an alarm clock that tells the end is included from the first take . Paul seemed to have tried the organ first, but he settled down on the piano, and the bass and drums had additional recordings initially including Bongo (Ringo) and Maracas (George) for rhythm keeping.
When it comes to the second take , George and Ringo switch roles, and Bongo is recording smaller.
The 4th take became the best, and John recorded the vocal with echo.

January 20, 1967		 Reduce the 4th take of'A Day In The Life' to make room for 2 tracks (6th take).
John and Paul's vocals, bass, and drums were added to the 6th take of'A Day In The Life' , and Paul recorded a piano on a track that was open for the orchestra. It seems to have been recorded in).
At this point, the bridge "Ah" is not included.

January 25, 1967		 Mono mixing (RM12-RM14) with the ending trumpet of'Penny Lane' removed.
Tape copy of'Penny Lane' (RM14) as best (sent to USA).

January 27, 1967		 The Beatles have signed a new nine-year deal with EMI.

'Penny Lane' (RM11) decided that the ending piccolo trumpet was unnecessary and re-mono-mixed on January 25 (this is the second replacement in the release version ).
'Penny Lane' (STEREO)
The Beatles themselves have not created a stereo version.

The current standard version was created for West German MMT as well as'Strawberry Fields Forever' (STEREO, 1971/10/26), which was mixed without ADT on 1971/09/30 (created. Who is unknown).
The biggest difference is that the piccolo trumpet can be heard even before the interlude , but the mono version does not reproduce the ADT effect increasing toward the second half.
1967
January 30
to 31 days		Create a rough mono remix of'A Day In The Life' ( RM1 (First Mono Mix) , 1/30 ).
It seems that the main purpose of this mix is ​​for Martin's orchestra arrangement, but Paul who listened to it decided to replace his vocal and bass (and inevitably the drums) (replaced on February 3). ..
The Beatles filmed the PV of'Strawberry Fields Forever' from 30th to 31st .
John is buying a Victorian poster at a junk shop that he stopped by when he visited Sevennoks, Kent on the 31st.
'Being For The Benefit Of Mr. Kite!' is inspired by the circus poster held on 14th February 1843.
Most of the lyrics appear, including the title that begins with "Being" (this is the reason John was involved with "Being" during the recording), but changed the horse name to Henry There are few changes (ZANTHUS in the poster).

February 1, 1967		 "SGT. PEPPER" session.
Although it is a familiar formation, George is in charge of Paul and Paul, John is in charge of Guide Bass (Pole is to replace later).
In order to prevent John's bass sound from being picked up by other microphones, I did not use a bass amplifier but directly input it to the console via DIBox (Direct Injuction Box) and recorded it.
Take 1-Instrumental (not including bass)

February 2, 1967		Added lead vocals and chorus to'Sgt. Pepper's Lonely Hearts Club Band' (9th take).
You can check the two vocal tracks in the remix recorded in the 2017 edition of "Sergent Pepper" . The left side is composed of Paul's lead vocal, John and George's chorus, the right side is without lead vocal, Paul is the top harmony part, John and George sing the same part as the left, but the whole. By the way, John is getting bigger.
As a result, Paul, John, and George are making a four-voice harmony, but the lead vocals are assigned on the assumption that they will be the W track in ADT.
Take 9 and speech (excluding chorus track)
Make 2 empty tracks by reducing'Sgt. Pepper's Lonely Hearts Club Band' (10th take).
The lead vocal track balances the chorus as a W track on ADT.
Created an acetate disc from'Sgt. Pepper's Lonely Hearts Club Band' (10th take) (RM1).

February 3, 1967		Paul replaces the vocals and bass added on January 20th of'A Day In The Life' , but the drums (apple) included with the bass will inevitably be re-recorded. John and George may have been absent.
As can be seen as the difference between the RM1 (First Mono Mix) and the release version (Remaster Mono) on this day's modification , Paul's chorus vocals, bass, and drums are all replaced. Also, you can see that the bridge part "ah" was added at this stage, but it seems that Paul sang half a step lower .


February 5, 1967		PV shooting of'Penny Lane' .

February 7, 1967

'Good Morning Good Morning' is John's song, but the self-evaluation is low as "Abandoned song" or "One of the junk". John always keeps a small sound on his TV while composing, and he writes this song because a Kellogg's serial CM came out. The ending chorus became ad lib in the latter half, and from the fifth time, he sang "gut Morgen gut Morgen gut!" in German. However, while "Good morning" is "guten Morgen", it is hard to notice because it gives priority to the goodness of the lyrical lyric as the lyrics rather than the correct German.
⇒'Good Morning Good Morning' session
Paul describes " Fixing A Hole " in a way that many Japanese don't understand, although it was mistakenly said to be heroin, but it was actually marijuana. It's a song about a person who says, "Don't do this! Don't do that!" They're all wrong, and it's time to fix it and be honest with yourself. It is based on the idea. John praises the poem, but Paul himself says he likes the double-meaning "If I'm wrong I'm right where I belong".
⇒'Fixing A Hole' session

February 8, 1967		 "SGT. PEPPER" session.
Only the basic rhythm track, Paul is also in charge of drums (probably kick and tambourine), John is singing guide vocals (reference: 1st take ).

External studio

Around February, it's about to spurt and finally it's a recording rush. However, the core Abbey Road Studios are full and the first external studio recordings are being made (actually experienced with'Can't Buy Me Love' in Paris and'Help!' in CTS ).

In addition to the studio staff (EMI employees) not being able to accompany you at the external studios, the ADT of Abbey Road Studios as well as the instruments owned by the studios are limited. That's why Martin is bringing virgin to Regent Sound Studios as a replacement for the harpsichord. This makes it difficult to distinguish the performance key in'Fixing A Hole' .
As far as listening to the first take of'Fixing A Hole', it can be inferred that pitch change was possible because it could be judged that the tape speed was changed by a semitone from the voice quality of the ending shout .
Virgin
The virginial is a miniature harpsichord, and Martin has brought his own for recording at Regent Sound Studios where harpsichords are not available.

The standard setting is probably baroque pitch (A=415Hz), and it seems that a half tone lower than the piano was produced when playing as it was. Furthermore, the structure as a harpsichord allows you to shift the keyboard and change the key in semitone steps.

February 9, 1967		 "SGT. PEPPER" session.
In the rehearsal, Paul seems to teach the chord (as Key G) on the harpsichord. However, the harpsichord is in semitone down (baroque tuning), so John and George should tune the guitar down in semitone (actual key F#).
In the first take, the tape speed is increased by a semitone to record (the speed at which the ending shout was recorded ), so that the normal sound becomes key F (each musical instrument is in a semitone lower tuning state) during normal playback.
The bass of this performance is replaced, the vocal is overwritten at the standard speed (that is, in the semitone) except for the ending, and it is reused on the abii road after the second take.
In addition, George added a lead guitar in the second take after reducing the first take (W track). Since the guitar is tuned in tune with the virgin, it is virtually tuned down by one semitone, and if you play at the same speed as the virgin performance (key F# with the actual sound), you can see that the sound is natural.
In the base Key F

The 3rd take started with confirming the virgin sound by remake. This seems to be checking the state that the keyboard is shifted to Eb (from B note to 4 semitones) so that key F can be obtained from the beginning without changing the pitch. Playing the harpsichord with key D in this state (this is succeeded to the piano performance with key D at Paul's live in a later year).
*Since the white key glissando that appears in the latter half of the performance is on the Eb scale, you can see that it is shifted by two whole notes (counting from the B note).
Key D on the piano
By the way, John and George remember the key G, so the guitar is lowered by one note , and it is recorded that the 5th string (G note) and 4th string (C note) of the acoustic guitar are tuned .
From this, the solo played by George is likely due to J-160E.
At this point, the 3rd take was suspended at the interim best, and we will return to Abbey Road Studios to continue working ( ⇒ 1967/2/21 ).

4-track synchronous recording

Engineer Ken Townsend devised a mechanism to synchronize two 4-track tape recorders.
This is a method of recording the synchronization signal on the master tape recorder and controlling the speed of the slave tape recorder by the signal (substantially the master is a three-track recorder, recording seven tracks as a whole). Since there is no means to automate the start, the tape was marked at the playback start position and started manually.

As a result, this attempt will end in failure.

February 10, 1967		Create the 7th take (main) by adding the sync signal to the 6th take of'A Day In The Life' .
　6th take　7th take (main)　
Tr.1Basic truck→Tr.1Basic truck
Tr.2Vocals→Tr.2Vocals
Tr.3Bass, drums→Tr.3Bass, drums
Tr.4Paul's piano　Tr.4Sync signal
　
An orchestra (40-person formation) was added to'A Day In The Life', and the orchestra was recorded on another 4-track tape ( Orchest overdub ).
　7th take (main)　　
Tr.1Basic truck 7th take (subordinate)
Tr.2Vocals　Tr1Orchestra 1
Tr.3Bass, drums　Tr2Orchestra 2
Tr.4Sync signal⇔Tr3Orchestra 3
　　　Tr4Orchestra 4
　

The contents of the 7th take of "A Day In The Life" (tape recording four orchestras) are transferred to the 6th take of the piano track. At this time, John and Paul's vocals are added together.
　6th take　　
Tr.1Basic truck 7th take (subordinate)
Tr.2Vocals　Tr1Orchestra 1
Tr.3Bass, drums　Tr2Orchestra 2
Tr.4Orchestra 1~4
John and Paul's vocals		⇐Tr3Orchestra 3
　　　Tr4Orchestra 4
　
From the beginning, the 7th take was for work, and it is speculated that the purpose was to add an orchestra of 160 players to the 6th take.
"SGT. PEPPER" session.
At this point the ending is considering humming rather than piano chords.
Hummed last chord (Takes 8, 9, 10, and 11)

February 13, 1967		 Mono mixing (RM2-RM5) from the 7th take of'A Day In The Life' .
　7th take (main)　　
Tr.1Basic truck 7th take (subordinate)
Tr.2Vocals　Tr1Orchestra 1
Tr.3Bass, drums　Tr2Orchestra 2
Tr.4Sync signal⇔Tr3Orchestra 3
　　　Tr4Orchestra 4
　
"SGT. PEPPER" session.
The best is the 3rd take with only rhythm tracks.
"Only A Northern Song" is "a joke around Liverpool, a holy town in the north of England," said George. In "I ME MINE" where this statement was posted, itseems to be a work of "REVOLVER" periodbecause it is sandwiched between" I Want To Tell You" and "Love You To " .

In the verse, the music created by The Beatles changed from a sense of incongruity to innovation, and it sang in the situation of sweeping London, and another element of the joke was added to the chorus. The third composer, George's song, was managed by Northern Songs, who handles John and Paul's song. Ironically, George wrote a song that he wrote, "It doesn't matter what chord I play or what I sing, because it's controlled by a company that I can't get involved with, because it's a Northern Songs song."

February 14, 1967		 Reduce'Only A Northern Song' (3rd take) to make room for 2 tracks (10th-12th takes).
Recorded George's vocals on W Track in'Only A Northern Song' (12th take).
Mono mixing of'Only A Northern Song' (RM1-RM3).

Since the ending editing part is not connected to the mono mix (RM2 to RM5) of'A Day In The Life' , it seems that mixing by synchronization was not good. At this time, Emmeric argues that the tape recorder wasn't in good shape, but it can be said that some kind of problem occurs even if it is theoretically correct, which is analog work. And, probably, the evaluation of this synchronization system was NG, and the synchronization signal was never used in the subsequent recording. The'Only A Northern Song'

recorded immediately after was completed as a normal 4-track recording, but the song itself quickly became a bonnet decision and was out of the recording candidates for "SGT. PEPPER" . The release version will use two 4-track tapes strangely ( ⇒ 67/04/20 ), but maybe because of the experience of'A Day In The Life' , "Yo-don" The original method of simultaneous playback with "!" (stereo version of'Money (That's What I Want)' ) is adopted.

Angry album production

When I came here, the production of the album was spurred (Is Paul's limit confirmed in early April?), and it will be a recording rush for a new song.
The key to the composition of'Being For The Benefit Of Mr. Kite!' was a circus poster held on 1/2/14 1843 ( ⇒ 1967/1/31 ), where the name of the horse was changed from ZANTHUS to Henry. This is one of the few changes.
In order to create a circus atmosphere, John has requested "music that swirls around", "I want to surround my voice with the sounds of an amusement park", "I want to smell snuffs and animals", "Mr.・I felt like I was in a circus with my kite and the Hendersons." Martin guessed it was an image of a steam organ in an amusement park, and looked for the real thing (the one that can be played on the keyboard), but could only find a model that played automatically. So, at Emeric's idea, I used EMI's sound effect library to collect Steam Organ records, sampled on short pieces of tape, and then reconstructed.
He also revealed in the video "Making of Sargent Pepper" that the use of bass harmonica was influenced by "Pet Sounds".
'Lovely Rita' is a song that Paul was reading because he read the article, "In the United States, traffic policemen are called "meter maids." Paul wrote the lyrics when he was walking to his brother Michael's house in the village of Gayton in Merseyside Wirral near Liverpool (the date is unknown), while he was free to park before. People didn't like the "meter maid" because the parking meters were installed. I am trying to create fun lyrics that take these emotions to my advantage.
While the word "maid" has sexual implications, it seems that using "meter" makes it an official expression, which sounds like an interesting combination. Paul also says that "Rita" is not a real person, but the only name he could come up with to rhyme with "meter." The lyrics that inflate the idea from there are almost fantasy stories by Paul.
John wrote about this song: "It's Paul who writes the pop song. He created it like a novelist... ...I'm not interested in writing songs about third parties." Talking.
In recording, three types of pianos are played at different speeds (keys). Paul's basic track piano is Key D , added ending is Key E (chord is Am) , and Martin added piano solo is Key C (use mono version for playback link).
⇒'Lovely Rita' session

February 16, 1967		 Added vocal and bass to'Good Morning Good Morning' ( 8th take ).
'Good Morning Good Morning' mono mixing (RM1).
Probably for John's work confirmation
"Good Morning Good Morning" is reduced to make room for 2 tracks (Take 10).

February 17, 1967		"SGT. PEPPER" session.
John sings guide vocals only on the rhythm tracks (bass, drums, Martin's harmonium).
1st & 2nd take ("ANTHOLOGY 2")
7th take ("ANTHOLOGY 2")
Speech from before Take 1; Take 4 and speech at the end (2017 edition)
7th take (2017 edition)
2 types of 7th take , "ANTHOLOGY 2" is a processed product and lacks data value (a separate take, delay processing for vocals, and SE added for ending).
left
right
7th take
(ANTHOLOGY 2)		 Left and right synchronized sound sources The 7th take
(SGT. PEPPER'S LONELY HEARTS CLUB BAND 2017 Disc 3)
Delay on vocalsThe seventh take part is the sameThe count and ending are different
'Being For The Benefit Of Mr. Kite !' Of the seventh take to add John's vocals ( recorded at 49Hz ).
Note: Play the release version in the 49Hz
- mono version
, stereo version
"Being For The Benefit Of Mr. Kite!" (Recorded the 8th take) is reduced to make room for 2 tracks (9th take).
Mr. Luison notes that he has reduced the 7th take to make the 8th-9th takes, but it doesn't match the later release versions !
It is speculated that Mr. Luison misunderstood it as the BEST take by adding vocals to the 7th take .

The sequence of work for this day is as follows.
  1. Record the 1st to 7th takes.
  2. The 7th take is interrupted by Paul's mistake . Paul tries to play in two bars like before the interlude, but John has instructed him to be half ("halve in here") . Immediately after that, I heard the call of "take eight" and Martin pointing "Stand by, Geoff". However, John goes into a break by saying "A short rest, excuse us."
  3. During the break, John tries to change the pitch of the vocal with the (taken) 7th take .
  4. Record the eighth take.
  5. The eighth take is reduced to the ninth take.
Added John's vocals to the ninth take of'Being For The Benefit Of Mr. Kite!' .
Mono mixing of'Being For The Benefit Of Mr. Kite!' (RM1, for pole).

February 17, 1967		Released single album'Strawberry Fields Forever' / 'Penny Lane' (February 13th in USA).

February 20, 1967		 "Being For The Benefit Of Mr. Kite!" is added with SE that gives John the circus atmosphere.
When listening to the recorded content in a half-speed playback of the stereo version , an interlude organ , Paul's guitar solo (finger picking at the back timing and stepping on the volume pedal at the front timing), Glockenspiel at the ending Becomes
Mono mixing of'Good Morning Good Morning' (second RM1).
Probably for Martin's brass arrangement

February 21, 1967		 On this day, we are finishing'Fixing A Hole' . First , copy the third take at
Regent Sound Studio ( ⇒ 1967/2/9 ) to make it the "first take on Abbey Road" and replace Paul's vocals.
The first take on Abbey Road is a stub, and the second take on Regent is copied to be the second take on Abbey Road. This is reduced to be the “third take on Abbey Road” (hereinafter, simply referred to as the third take).
It will be completed by making an additional recording in the third take. All parts are W tracks, but Martin played the harpsichord here because he needed to play the bass and harpsichord at the same time.
Perform'Fixing A Hole' mono mixing (RM1 is a missing number, RM2 to RM6) and edit RM3 and RM6.
The edit point ( 2'06" ) corresponds to the ending ad-lib vocal, but no significant edit marks can be seen.

February 22, 1967		"SGT. PEPPER" session.
Record the ending piano chords and fill the remaining 3 tracks of the best 9th take.
Editing part 9th take, etc. (The last chord)
Perform mono mixing from the 6th and 7th takes of'A Day In The Life' (RM6 to RM9), and connect the 9th take for ending editing part to the best RM9.
　6th take✚7th take (subordinate)　
Tr.1Basic truck　Tr1Orchestra 1
Tr.2Vocals　Tr2Orchestra 2
Tr.3Bass, drums　Tr3Orchestra 3
Tr.4Orchestra 1~4
John and Paul's vocals		　Tr4Orchestra 4
　
The orchestra of the 6th take is the main sound in time with the performance, and the 7th take is used to add thickness in various places.
left
right
SGT. PEPPER'S LONELY HEARTS CLUB BAND 2009 MONOLeft and right synchronized sound sourcesSGT. PEPPER'S LONELY HEARTS CLUB BAND 2009 STEREO
The timing of the orchestra of the 7th take is offThe 6th take orchestra can be heard in the centerThe timing of the orchestra of the 7th take is off
Stereo mixing (SM1-SM9) from the 6th and 7th takes of'A Day In The Life' .
With the same tape structure as the mono version , I mainly try and make stereo sound images.
"SGT. PEPPER" session.
  • "Anything" (22 minutes 10 seconds)
Drums, tambourine and conga played 22 minutes 10 seconds

February 23, 1967		 Perform stereo mixing further from the 6th and 7th takes of'A Day In The Life' (SM10-SM12) and connect the 9th take for the ending editing part to the best SM12.
This song can be used for version verification because the timing of the orchestra part differs for each mixing. For example, you can see that "1967-1970 (blue board)" and "IMAGINE" released in the 70's are all the same version.
"SGT. PEPPER" session.
Originally it was a song of Key D , but the ending piano was played with white keys , so it was necessary to set it to Key E (chord Am) . So, at a standard speed, the basic track was recorded later than a semitone (46.5Hz is key D) so that it would be slightly above Key Eb at standard speed.
Created the 9th take by reducing the 8th take of'Lovely Rita' .
It seems strange to say "a little above Key Eb at standard speed", and the ninth take adjusts the speed to be "a little below Key Eb at standard speed (48.75Hz is key D)".
In addition to the ending piano , drums and guitar are added at the speed of Key E in the ninth take of'Lovely Rita' .

February 24, 1967		 Added Paul's vocals to the ninth take of'Lovely Rita' .
The state of Key E ( Speech and Take 9 ) is recorded as an outtake for the 2017 edition . If you listen to this in the state of key D, it becomes Speech and Take 9 (Key D) , and Paul's voice quality becomes natural.
Created the 10th to 11th takes by reducing the 9th take of'Lovely Rita' (use ADT for vocals).
Added Paul's bass to the 11th take of'Lovely Rita' .
After the other members have returned home, they spend a lot of time drop-in every section (Emerick talk).

February 27, 1967		 The Daily Mail (newspaper) on that day features a runaway article for a 17-year-old girl. This inspired Paul creates the'She's Leaving Home' .

'Lucy In The Sky With Diamonds' was (beforeJohn's memory)prepared with'A Day In The Life' before the'Sgt. Pepper' session. However, it is certain that Paul was in an unfinished state because he also remembers the lyrics.

The title is based on the picture drawn by Julian. However, because the initials are sometimes called LSD, it calls for speculation related to drugs, and the BBC actually bans broadcasting. John said he had no intention of entanglement with LSD, so he began to check the initials of the title.

The image of the lyrics is "Alice in Wonderland," which depicts Alice on a boat. On the other hand, Paul seems to have understood that sequel "Alice in the Mirror Land ('Wool and Water')". While Paul was playing with the words "cellophane flowers" and "newspaper taxis", John responded by saying that he returned "kaleidoscope eyes".
The "girl with kaleidoscope eyes" coming down from the sky is another image that John had, but he said that this should be'Yoko In The Sky With Diamonds' because it was later embodied as a Yoko. ..
⇒'Lucy In The Sky With Diamonds' session
'She's Leaving Home'
is mainly created by Paul, inspired by the runaway article of a 17-year-old girl in the newspaper (Daily Mail) on February 27, 1967. The lyrics are written based on the article, and the chord progression attached to the melody uses the 5th progression and the reverse progression that the pole of the "SGT. PEPPER" period was fitted, and fractional chords are also used a lot.
Paul says that he co-wrote with John, but when he showed the song to John (played it?), he also said that he added a chorus counter melody, so it was almost complete. It is thought that it was created in. Paul describes the counter melody, which contributes to John, as a Greek chorus, but one of the features is that the chord change is left as C chord until now. Has the scent of being C when composing). Also, Paul points out that the lyrics of John's part are from the parent's point of view, and it seems that the song is "co-written" because he added a new element to the song.

Paul, who is in a hurry to record, asks Martin to arrange the strings in early March, but it has been declined because of Sila Black's session. Immediately requesting Mike Leander to undermine Martin's heartbeat, but Martin is in charge of conducting the recording. Mike Leander creates a string score with the W quartet plus harp and double bass. Martin recorded the music exactly as it was played ( 1st to 6th takes ), and changed two locations when mixing.
The mono version is in the middle of key E and key F because it is playing at a higher tape speed, but the original key is the stereo version (this is standardas it is replayed at Paul's live performance).It is key E (while speed remains).
⇒'She's Leaving Home' session

February 28, 1967		 Although it was the "SGT. PEPPER" session, 8 days were spent only for the rehearsal of "Lucy In The Sky With Diamonds" , and the day ended.

March 1, 1967		 Added piano to the 6th take of'A Day In The Life' (unused & purpose unknown).
"SGT. PEPPER" session.
The striking intro is Paul's lowry organ, and John is singing a guide vocal while waving maracas. The key point here is the synthetic sound of the musical instrument (also based on "Pet Sounds"), which is a combination of Martin's piano and George's acoustic guitar.
1st take (Take 1 and speech at the end)
5th take (Speech, false start and Take 5)
Removed John's guide vocals in'Lucy In The Sky With Diamonds' (7th take) and added George's Tambura.
You can hear the remains of the guide vocals in front of the chorus (2'31") when the tamboura stops playing ( the left side of the stereo version is easy to see).
Prepare'Lucy In The Sky With Diamonds' (7th take) into one track for the next recording (8th take).
It seems that the recording sheet says "Tape speed is 49Hz", but this is considered to be an instruction to "playback at 49Hz ."
The mono version was created that way, but the stereo version (including the "Yellow Submarine Song Track") is performed at a standard speed of 50Hz, so the vocal quality is high.

March 2, 1967		 Two kinds of vocals of John and Paul (45Hz and 48.5Hz), Paul bass and George guitar at 50Hz are added to'Lucy In The Sky With Diamonds' (8th take).
45Hz (down one sound) is vocal was recorded mainly in the rust has been used in, ( "Ah" of Paul), the top part just before the chorus back to the A melody has been sung.
The vocals recorded at 48.5Hz (1/4 tone down) are John's main vocal and Paul's main harmony , and the lower part of "Ah" is sung.
'Lucy In The Sky With Diamonds' mono mixing (RM1-RM11).
Although it was reported that everything was erased due to bots, RM11 (Original mono mix-No.11) has been released on the 2017 board . You can see that the base is multiplied by ADT from the comparison with the released mono version .

March 3, 1967		 French horn and new lead guitar added to'Sgt. Pepper's Lonely Hearts Club Band' .
"George angry and refused to insist that Paul play the lead guitar," Martin said, while Emery said "Paul replaced the lead guitar."

Probably Martin's story is a basic track recording, and Emmerich's recording this day.
'Lucy In The Sky With Diamonds' Mono mixing from the 8th take (for some reason the numbers are re-partitioned RM1 to RM4, best is RM4).

March 6, 1967		 Add SE to'Sgt. Pepper's Lonely Hearts Club Band' .
I am using one track of a four-track tape for SE instead of a separate tape.
The warming up part before the intro is the sound of the recording scene when recording the orchestra of'A Day In The Life' , the applause and laughter are Abbey Road's sound library, and the connection with'With A Little Help From My Friends' is the Hollywood Bowl The recording tape of the performance is used.
'Sgt. Pepper's Lonely Hearts Club Band' Mono mixing (RM2-RM3, best RM3) and stereo mixing (SM1-SM8, best SM8) from the 10th take.

March 7, 1967		 Add chorus and SE to the 11th take of'Lovely Rita' .

In'Getting Better' , John is the main lyricist in Paul's melody. Beatles biographer Hunter Davis wrote that ""It's getting better" was a habit of Jimmy Nicole, who had been on tour as a substitute for Ringo, and that John made a song when he came to the writing session. It was,” said Paul. However, Paul's later years lost that memory, and he only remembers when he composed the magic piano in the new room.
John himself claims that this song is a diary format, and "I used to be cruel to my woman, I beat her and kept her apart from the things that she loved" is an honest statement about what he used to be. Paul said he used "Me used to" instead of "I used to" to fill in emotions towards school teachers (chuck berry using wrong grammar and Jamaican style using slang) ing.

Another memory of Paul is that John replied "Couldn't get much worse" when he brought an unfinished song to the studio and sang "It's getting better all the time". ..
⇒'Getting Better' session
"Within You Without You" is George's song. When I visited Klaus Forman's house during the recording of "Sgt. I was playing) I heard that the melody came up. It seems that George, like John, did not prepare a new song, and although he pulled out the old work "Only A Northern Song" , he became a crap, and he seems to have worked on the composition in a hurry.
After that, the opening lyrics "We were talking" came out, and the rest of the lyrics were completed at a later date. According to George, he was studying Indian music and wanted to write songs with a different scale than Western music. In addition, 5 points (2 3 rhythm) of interlude are given as points.

The performance is by Indian musicians, but in addition to that George Neil Aspinor (Beatles assistant) has joined the tambula performance for some reason. The other members haven't participated in the recording, but appreciate the song, especially John said, "It's one of George's best songs. It's one of my favorites in his song. He's very clear on the song, his heart and his music are also clear. He has a natural talent that he brings to the sound."
⇒'Within You Without You' session

March 9, 1967		 "SGT. PEPPER" session.
Martin himself says he is playing Pearnet , but as far as I hear before the performance of the first take (Take1- Instrumental and speech at the end), it seems to be Paul's performance. In addition, the basic track is composed of John's bass and George's guitar.
Add apple second drums and Paul bass to the seventh best take.
Reduction of the 7th take of'Getting Better' (8th to 12th takes).

March 10, 1967		 Add George's Tambura and Paul's second bass to the twelfth take of'Getting Better' . This Paul's second bass track has the B melody part replaced by a second Pianet (a Pianet that can be heard on the right side of the stereo version of the B melody ).

12th take

March 13, 1967		 Brass by Sounds Inc. (formerly Sounds Incorporated) is added to the 10th take of'Good Morning Good Morning' .
At the request of John, it is processed and recorded with a flanger, limiter, compressor, etc.

March 15, 1967		 "SGT. PEPPER" session.
The first take (Take 1-Indian instruments only) was played by Indian musicians, with George and Neil Aspinor playing the tamburah (the other three may have been absent).
At this point, Part 2 (second verse) and Part 3 (interlude) are reversed.

Prior to that, the scenery ( George coaching the musicians ) that George transmitted the song was released in the 2017 outtake.

March 17, 1967		 "SGT. PEPPER" session.
Only the orchestra, at this point the best is not decided, the first take and the sixth take are candidates.
Although both take are the same play, sixth take of intro 2 small milestone in the same place of the first take hear clogged tempo is faster than.
In addition, the second of the rust of the sixth take the same point of the first take is recording the larger the part on the cello from.
You can see that the cello's body is squeaking in every take. This can be said to be the opposite effect of the close-up recording that Emerrick testifies.

March 20, 1967		 A recording tape titled'Beatle Talk' is recorded, but the content is unknown because Martin has taken it out and has not returned it.
Reduction of the first take in stereo format (7th to 9th takes).
Reduction of the 6th take in stereo format (10th take).
Recorded Paul and John's vocals on the W track with the 9th take of'She's Leaving Home' as the best.
Paul sings the harmony part of A Melo on the second vocal, but was cut during the mixing.
Mono mixing of'She 's Leaving Home' (RM1-RM6, RM6 is best).
In RM1 (First mono mix) , ADT is not applied to the intro harp, and the vocal echo is only the final verse.
Deleted the last measure of chorus (cello solo) from RM6 of'She's Leaving Home' (2 places).

March 21, 1967		 Reduction of the 12th take of'Getting Better' (13th-14th takes).
Added vocals to the 14th take of'Getting Better' .
Martin's piano solo is added to the 11th take of'Lovely Rita' .
The piano has the effect of sticking the adhesive tape on the Capstein of the tape recorder for the echo machine so that the pitch of the echo fluctuates. Since this was recorded with Key C , the pitch rises during playback and the high frequencies are emphasized.
Mono version (Key D)
Mono interlude (Key C)
Mono ending (Key E)
Stereo version (Key D)
Perform'Lovely Rita' mono mixing (RM1 to RM15) and edit RM11 and RM14. The fifth bar of the ending is the editing position, and there is a difference in the final bass sound ( cut in the stereo version ).

March 22, 1967		 Add Dill Louver to the first take of'Within You Without You' with W track ( play the first take at 52.5Hz ).
Reduction of the first take of "Within You Without You" (second take).
Mono Mixing "Within You Without You" (RM1, for making acetate board).

March 23, 1967		 Rerecorded vocals for the 14th take of'Getting Better' (3/21 vocal overdub was re-recorded because John was lari).
Reduction of the 14th take of'Getting Better' (15th take).
In the 15th take of'Getting Better' , apple bongo, George's guitar and Martin's piano (striking the strings directly with mallet) are added.
'Getting Better' mono mixing (RM1-RM3, best is RM3).

'With A Little Help From My Friends'
⇒'With A Little Help From My Friends' session
'Sgt. Pepper's Lonely Hearts Club Band (reprise)'
⇒'Sgt. Pepper's Lonely Hearts Club Band (reprise)' session

March 28, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 Good Morning Good Morning First recording of SI John's lead vocal for the 10th take.

March 28, 1967		 2E: Richard Lush Editing @Abbeyroad No.2 Good Morning Good Morning Tape reduction of the 10th take to 2 tracks to create the 11th take Probably John's vocals at this stage are ADT processed. According to the recording sheet, reduction while adding the guitar

March 28, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 Good Morning Good Morning SI to the 11th take Empty track 1: Paul's guitar solo empty track 2: John and Paul's back vocals Is TRK3
Guitar Solo

March 28, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 Good Morning Good Morning Create an animal SE with an unnumbered take

March 28, 1967		 2E:Richard Lush recording @Abbeyroad No.2 Being For The Benefit Of Mr. Kite! 9th take SI George, Ringo, Mar Evans, Neil Aspinor Harmonica John organ solo guitar solo Geoff: Harmonica is John instead of apple

March 29, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 Good Morning Good Morning Collect more unnumbered SEs

March 29, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 Good Morning Good Morning Unnumbered SE in the 11th take SI According to the recording sheet of the original P.105, the sound effect is TRK4.

March 29, 1967		 2E:Richard Lush Recording @Abbey road No.2 Being For The Benefit Of Mr. Kite! SI 2/20 SE to the 9th take Rotary sound of organ by George Martin Martin: 9th take 1 Tracks 1 & 4 of 7th take 2 Track of the 7th take 3 3 SE tape at the amusement park 4 Vocal (John), organ in the gap

March 29, 1967		 "SGT. PEPPER" session.
George Martin's Hammond Organ Paul Piano starting from the vocal part "Billy Shears" George's lead guitar Apple's drums John Cowbell Martin: 10th take (Intro Hammond organ is Martin) 1 Piano (pole) 2 Guitar ( George) 3 Drums (Apple), Cowbell (John) 4?

March 29, 1967		 2E: Richard Lush Edit @Abbeyroad No.2 With A Little Help From My Friends Tape reduction of 10th take to 1 track to create 11th take Martin: 11th take 1st 10th take's tracks 1 to 4 2 (vacant) ) 3 (vacant) 4 (vacant)

March 29, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 With A Little Help From My Friends SI Track 11th Take 3: Apple Vocal Track 4: Apple Vocal

March 30, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 With A Little Help From My Friends SI Track 11th Take 2: Guitar, Bass, Tambourine Track 3: John and Paul's Back Vocal and George's Guitar PUNCH IN Track 4: Same as track 3 Geoff: Paul's bass was recorded by himself at the end (so the composition above might be strange) Martin: 11th take 1 10th take's tracks 1-4 4 Guitar (George), bass (Paul), tambourine (Apple) 3 Vocals (Apple), Chorus (John and Paul) 4 Vocals (Apple), Guitar (George)

March 31, 1967		 2E:Richard Lush MM@Abbeyroad No.2 With A Little Help From My Friends From the 11th take, remixes 1-15, best remix 15

March 31, 1967		 2E:Richard Lush Recording @Abbeyroad No.2 Being For The Benefit Of Mr. Kite! SI organ and Glockenspiel to the 9th take

March 31, 1967		 2E:Richard Lush MM@Abbeyroad No.2 Being For The Benefit Of Mr. Kite! From the 9th take, remixes 1-7, remix 1 is the same number as last time, best is remix 4

April 1, 1967		 "SGT. PEPPER" session.
Paul's Guided Vocal Rhythm Track Guess: It should have been mixed into one track from the beginning because there was no tape reduction. It could be judged by ANTHOLOGY's take 5 (GM seems to be organ) Geoff: Instrumentation is "long time Organization: In other words, the drums are apples, the bass is Paul, John and George are guitars Martin: 1st-9th take (?) 1 Rhythm guitar (John), Reed guitar (George) 2 Bass (Paul) 3 Vocal (Paul), Chorus (John and George) 4 drums (apple), percussion

April 1, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Recording @Abbeyroad No.1 Sgt. Pepper's Lonely Hearts Club Band (reprise) SI for the 9th take It's unclear which one was added, but finally drums, guitar, organ , Bass, various percussion, vocals, SE

April 1, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush MM@Abbeyroad No.1 Sgt. Pepper's Lonely Hearts Club Band (reprise) From the 9th take, remixes 1-9, best remix 9
1967
April 3
to 12 days		Paul travels to the US to celebrate Jane's birthday (April 5th).

April 3, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Recording @Abbeyroad No.1 Within You Without You SI track to the second take 3: Strings (8 violins, 3 cellos) Track 4: George's vocals and sitar Acoustic Guitar Martin: 2nd Take 1st Take Track 1 & 2 2 1st Take Track 3 & 4 3 Strings 4 Vocal (George), sitar in the gap

April 3, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush MM@Abbeyroad No.2 Within You Without You From the 1st part of the 2nd take, remixes 1 to 3 (remix 1 has a number dub) 2nd take parts 2 & 3 More, remix 4-5

April 4, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush MM@Abbeyroad No.2 Within You Without You Using ADT to remix 2nd take part 1 remix 6-11 2nd take part 2 & 3 remix 12

April 4, 1967		"SGT. PEPPER" session.
Edited by P:George Martin E:Geoff Emerick 2E:Richard Lush @Abbeyroad No.2 Within You Without You Remix Mono 10 & 12 and laughter SE

April 4, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.2 Within You Without You Remix 1~3 from Part 2 of the 2nd Take, Remix 4~5 from Parts 2 & 3 of the 2nd Take

April 4, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Editing @Abbeyroad No.2 Within You Without You Editing Remix Stereo 3 & 5 and Laughter SE

April 6, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Editing @Abbeyroad No.2 Sgt. Pepper's Lonely Hearts Club Band Crossfade for mono LP Sgt. Pepper's Lonely Hearts Club Band ~ With A Little Help From My Friends

April 6, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Editing @Abbeyroad No.2 Sgt. Pepper's Lonely Hearts Club Band (reprise) Crossfade for mono LP Sgt. Pepper's Lonely Hearts Club Band(reprise) ~ A Day In The Life

April 6, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush MM@Abbeyroad No.2 Good Morning Good Morning From the 11th take, remix 1-2, best remix 2 but not used

April 6, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.2 Good Morning Good Morning From the 11th take, remixes 1-5, best remix 5

April 7, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Editing @Abbeyroad No.2 Sgt. Pepper's Lonely Hearts Club Band Crossfade for stereo LP Sgt. Pepper's Lonely Hearts Club Band ~ With A Little Help From My Friends Note: Not yet It may be another work because I have not done a stereo mix

April 7, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Editing @Abbeyroad No.2 Sgt. Pepper's Lonely Hearts Club Band (reprise) Crossfade for stereo LP Sgt. Pepper's Lonely Hearts Club Band(reprise) ~ A Day In The Life Note: I may not be able to do a stereo mix yet

April 7, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.2 With A Little Help From My Friends From the 11th take, remix 1-3, best unknown 44

April 7, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM @Abbeyroad No.2 Being For The Benefit Of Mr. Kite! From the 9th take, remixes 1-8, best unknown.

April 7, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.2 Fixing A Hole 3rd take, remix 1

April 7, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.2 Lucy In The Sky With Diamonds Remix 1-5 from the 8th take

Origin of sampler (?)
It is not hard to imagine that the idea of ​​using animal sounds as a sound effect was inspired by "PET SOUNDS". However, it is not just imitation, but new trials (sampler ideas) are added.

The intro for'Good Morning Good Morning' begins with a rooster, and a hen is used to combine with the next song'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' .

The story of matching the pitch to connect the ending hen with the guitar of the next song was testified by engineer Emmeric, but strangely there is a gap with the guitar on the monaural board and it is tied flatteringly I don't think it is. There seems to be no pitch change on the stereo board , but this one sounds more natural.

However, 'Good Morning Good Morning' (MONO) is a painful mix of 14 takes on April 19th. The key to this mystery lies in the rooster in the intro. Compared to the stereo version , the mono version has one pitch lower. Moreover, the bark is scaled (D-G-G-E-F#).
This idea is the same as a modern sampler (an instrument that changes the pitch by sampling the sound).

April 17, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.2 Getting Better 15th take, remix 1

April 17, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM @Abbeyroad No.2 She's Leaving Home 9th take, remixes 1-6

April 17, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.2 When I'm Sixty-Four 4th take, remix 1

April 17, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush SM @Abbeyroad No.2 Lovely Rita From 11th take, remix 1-2, best unknown

April 17, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Editing @Abbeyroad No.2 She's Leaving Home Editing Remix Stereo 6 (Maybe some cello sounds deleted) 52

April 19, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush MM@Abbeyroad No.2 Good Morning Good Morning From the 11th take, remixes 10-23, 3-9 are missing numbers, best is unknown Raise the pitch of the rooster voice Match with the guitar sound of the song

April 19, 1967		"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush MM@Abbeyroad No.2 Only A Northern Song Remix 4 (for making acetate disc) from the 12th take

April 20, 1967		"SGT. PEPPER" session.
P:(None) E:Geoff Emerick 2E:Richard Lush SM@Abbeyroad No.3 Sgt. Pepper's Lonely Hearts Club Band (reprise) From the 9th take, remix 1-10, best remix 10
"YELLOW SUBMARINE" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Recording @Abbeyroad No.2 Only A Northern Song SI for the 3rd take Re-recording bass, trumpet and Glockenspiel Supplement: Glockenspiel refers to the wind chime It seems that The third take was only bass, and the basic track part of the eleventh take should have been replaced by another performance.
Paul said in the anthology that the movie company recorded this song because he wanted a new song. In addition, he added, "I played a trumpet." as a memory about the recording of this song. Since it is known to be a "Sgt. Pepper's" bot song, it was revived for a movie in just two months, but Paul's memory is when it was additionally recorded for the movie.

P:George Martin E:Geoff Emerick 2E:Richard Lush Recording @Abbeyroad No.2 Only A Northern Song Add SI vocal to 11th take.

April 21, 1967
P:George Martin E:Geoff Emerick 2E:Richard Lush MM@Abbeyroad No.2 Only A Northern Song Synchronizing the 3rd and 11th takes, remixes 1-11, best unknown (should be remix 6) Note: According to Peter Cobin, no sync signal was used, just mark the tape and let two tape recorders play at the same time
　Third take✚11th take　
Tr.1Drums (R)　Tr1Second vocal (G)
Tr.2Base (P)
(4/20 replacement)		　Tr2Vocal (G)
Tr.3Organ (G)　Tr3Trumpet (P), SE
Tr.4Tambourine (J)　Tr4Trumpet (P), SE
　
After more than a year, I gave up trying stereo mixing (probably the two tapes couldn't keep the same condition due to expansion and contraction during storage).
"SGT. PEPPER" session.
P:George Martin E:Geoff Emerick 2E:Richard Lush Recording @Abbeyroad No.2 Edit for LP End Recording the first take 2 times (on both tracks of the 2 track tape) After chopping it and breaking the order, reverse rotation Used in


'Sgt. Pepper's Lonely Hearts Club Band (reprise)'
Original mono mix (2017 edition) Take 1-False start and Take 2-Instramental

"MAGICAL MYSTERY TOUR"

(Getting out the material)
  1. How did Paul establish his piano playing style?
    There is also a description in "TIPS" of "For No One" and "Hello Goodbye".
1966 　Contents 　1968

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