"Back In The USSR" vocal imaging

[Ted Nightshade]

Originally posted by jbuntz
I'm just repeating what I've heard. I think "Come Together" was one of the mentioned songs that seemed too good to be Ringo.

Who else would play ride on the crash like that? That's got to be Ringo- bass drum is further evidence. The man was an absolute monster, the best. I think some of the reason folks think he's lacking in some way is because of his priorities- he never let a fill coming out just so interfere with the pulse- I wish I could say that about my own drumming! He's almost orchestral in his approach- whole parts of the kit may lay out and come in to highlight the architecture of the song. Wow.

Some of these fills he opens up a groove with, like on Strawberry Fields- oh boy...

[Your Add Here!]

The economy in Ringos playing is beautiful. That's not to say he didn't hit the drums hard (and groove like crazy). there's footage I love in Anthology where they're doing I saw Her Standing there and Ringo looks like he's going to bash his kit to bits. I think part of Ringos great and distinctive snare sound is that he hits the thing so damn hard.

Ted Nightshade and other drummers - how would you musically describe what Ringo often did on the hi hat/ride - sort of what partially defines the Beatles Beat. For example in a tune like Help! the part he plays on the cymbal is not straight eighth notes. He always seems to be sort of swinging or shuffleing a bit. I'd like to know how to define this musically as best as possible since my son is starting to play these tunes on drums. thanks!

[Ted Nightshade]

Originally posted by Your Add Here!
The economy in Ringos playing is beautiful. That's not to say he didn't hit the drums hard (and groove like crazy). there's footage I love in Anthology where they're doing I saw Her Standing there and Ringo looks like he's going to bash his kit to bits. I think part of Ringos great and distinctive snare sound is that he hits the thing so damn hard.

Ted Nightshade and other drummers - how would you musically describe what Ringo often did on the hi hat/ride - sort of what partially defines the Beatles Beat. For example in a tune like Help! the part he plays on the cymbal is not straight eighth notes. He always seems to be sort of swinging or shuffleing a bit. I'd like to know how to define this musically as best as possible since my son is starting to play these tunes on drums. thanks!

Lee Flier would be a great one to ask- she's great at articulating the slippery stuff (in words) and as big a Ringo buff as they come. If she doesn't show up here (calling Lee Flier!) you could ask at her band forum on musicplayer.com

One insight she has is that a New Orleans old-time jazz heritage is what puts the roll in rock&roll. That may have something to do with it.

[René Hatt]

Originally posted by modmusic
I remember reading something about them monitoring their mixes in mono as they were tracking as well but I could be wrong. I remember being kind of shocked when I read that.

pat
mms [/b]

Now this is interesting...! There is a feedback on one song on the Anthology-CD-Set that can (imo) only come from the microphone Paul was singing in. So did they feed back what they played (sung) into the Studio, so that it was recorded as well, just below feedback level?
There are people doing this with drums to tighten up the sound, but on vocals?

Does anyone know more about this?
Thank you
René

[Ted Nightshade]

FWIW (I'm not the Beatles )I only have one monitor speaker present when tracking, and spend at least half the time mixing with just one. While tracking, it lets you know all about phase relationships and helps with mic placement, although I do use an IBP or two while I'm at it. I don't use many tracks and I am always in mind of the final mix while tracking.

[René Hatt]

I think I misunderstood what Pat wrote - the Beatles were always mixing in Mono, so it's quite natural that they also did monitoring in Mono. I once read that the Beatles were there while they mixed in Mono, but they left when it came to Stereo, and the Tech took little time to mix the Stereo Master. Listen to the Mono Sgt. Peppers and you'll notice that the Stereo does miss many bits & pieces! The main thing back then was Mono, not Stereo.
The first release that was really mixed for Stereo was Abbey Road (and what a great Stereo Mix it is!).

What I meant in my post is: Did the Beatles feed what they tracked back to the Studio WHILE tracking, not loud enough to produce a feedback, but loud enough to alter the sound?

Thanks
René

[Your Add Here!]

"What I meant in my post is: Did the Beatles feed what they tracked back to the Studio WHILE tracking, not loud enough to produce a feedback, but loud enough to alter the sound?"

I think not.

If they were tracking at Abbey Road I doubt they were getting any feedback from the control room which was a considerable distance upstairs from the live room. However, at Twickenham film studios and at the studio at Apple (the basement studio as it were) probably anything could have happened as it seems it was under rather thrown together circumstances. This would have been the Let it Be sessions.

pat
mms

[Dobroman]

I beleive Geoff still starts his mix in mono.

[warhead]

Wow, huge bump...!

War

[BrianK]

It's tempting to answer here, but it will be known when this book comes out:

www.recordingthebeatles.com

Just got back from the umpteeth trip to London and we are working hard on this. The former studio staff (and Lewisohn) are very involved on this, we talk almost daily. We are very close to finishing, still some work to do, and it takes time. It's taken many years to get it as right as possible. When the book comes out, everyone will be an expert, and will act like they always "knew" !!

[warhead]

Cool...that should be an interesting read!

War

[Ted Nightshade]

Originally posted by BrianK
It's tempting to answer here, but it will be known when this book comes out:

www.recordingthebeatles.com

Just got back from the umpteeth trip to London and we are working hard on this. The former studio staff (and Lewisohn) are very involved on this, we talk almost daily. We are very close to finishing, still some work to do, and it takes time. It's taken many years to get it as right as possible. When the book comes out, everyone will be an expert, and will act like they always "knew" !!

[doorknocker]

Originally posted by Ted Nightshade
FWIW (I'm not the Beatles )I only have one monitor speaker present when tracking, and spend at least half the time mixing with just one. While tracking, it lets you know all about phase relationships and helps with mic placement, although I do use an IBP or two while I'm at it. I don't use many tracks and I am always in mind of the final mix while tracking.

I recently started to use my Tivoli Audio radio as a mono monitor in PT. Works great!

Ted, is the IBP worth it? I've read tons of posts raving about it but would you recommed it for a 'minimalistic' approach i.e as few drum mics as possible? Also, when multi-miking guitar amps, I got enough variation going with mic choices/pres/etc. so I'm not convinced I need the IBP too (option anxiety? )

Andi