Help to Rubber Soul

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tkingen

tkingen

Djembes Rock
It seems like The Beatles made a big jump in recording quality and production between Help and Rubber Soul. I'm not claiming the songs are better, but that there was a big leap in the overall sound of the records. And then Revolver was even more so than Rubber Soul.
What happened in that time? More budget? More experience? Different gear?
 
I think part of it was that stereo was becoming the new fad, and Parliphone was demanding stereo mixes from George Martin, who generally preferred to work in mono. Martin obliged with mixes that have instruments panned hard one way and vox panned hard the other. I'm sure there were other factors like you suggest, but experimentation was surely one of them.
 
Hi.
.....I'm bored.
I think it was the advent of the Behringer Ultramizer Pro ? :D
ummm.......just jokin! :) (mmm....did I really have to mention that?)
 
In the bit of the story I read, Martin used stereo machines even in the mono release days as it was the best multitrack they had (ie: 2 tracks are better than than one)
He put backing on one track and vocals on the other, giving him the option to balance the two tracks in a final mix to a mono tape.
I read somewhere that Capitol USA got sent by mistake these two track tapes, or at least dubs of them, and so the US got "stereo" versions on their vinyl, which Martin had never intended.
I think Martin was not primarily a rock producer before the Beatles came along and had been more into light comedy and classical recordings. But he sure adapted.

Tim G
 
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Probably the most influencial thing to happen to the Beatles during the time you mention is: pot!
I just finished reading the book by Geoff Emrick, the studio engineer during that time. He writes that the Beatles wanted a different sound on every song. They instructed him to never repeat a sound. So, Geoff changed mic placements, or the microphone itself. The Beatles themselves helped out with suggestions like placing the mic behind the amp. Geoff was one of the first to close mic the top AND bottom of a snare. And to add blankets to a close mic-ed kick drum.

Because of the success of the Beatles, EMI left them alone during recording sessions. The staff was thus able to break every recording rule in the stuffy EMI book. Emrick wrote that had he done any of the things he did for the Beatles with non-rock recordings, he would have been fired on the spot by the producer.
 
By the time they got to these albums, EMI was letting them "live" in the studio and they were experimenting with sound. Before that, the model was go into a studio for two days and play the songs. Now they were writing and recording on the fly with recording becoming part of the writing process and with practicly no time restraint.
 
i always thought they went to smoking from joints to bongs around that time.

Mike
 
Yeah, all that stuff, and the fact that during that time the Beatles were making PHENOMINAL leaps and bounds in terms of ideas and creativity.
 
For the record, Geoff Emerick wasn't involved on 'Help' or 'Rubber Soul', his involvement began with 'Revolver'.
 
I'd say a few factors:

* The Beatles themselves were getting better, as writers, players and pushers of boundaries.

* On Rubber Soul, they were responding to influences that included Motown ("Drive My Car") and Dylan. They had also by then began utilizing country, dance hall and classical music into their own creations. And the album introduced the first of Lennon's great Message songs ("The Word") and the first use of a sitar on a Beatles record ("Norweigen Wood" of course).

* They were beginning to be more actively involved in the studio. As others have said, in the first few albums they showed up, played and basically left - the "men in the white jackets" took care of the engineering and producing.
 
maybe more "stereophonic" had them listening closer.

thought I read somehwere the albums up to Rubber Soul were kind of done assembly line like too... "formula" to get to market, no real surprises were allowed. Rubber Soul was when it started really changing in the studio, is my understanding.

in two words...... studio effects?
 
COOLCAT said:
maybe more "stereophonic" had them listening closer.

thought I read somehwere the albums up to Rubber Soul were kind of done assembly line like too... "formula" to get to market, no real surprises were allowed. Rubber Soul was when it started really changing in the studio, is my understanding.

in two words...... studio effects?
Click to expand...

I suspected that the recording process was also "formula" up until Rubber Soul. George Martin said that it got to the point where his studio relationship with them changed from directing them to being directed by them.
Even though some disagree I still marvel at the songs, performances, arrangements and production of those records. Their influence is everlasting. Thanks to all who chimed in here!
 
It's all Bob Dylan's fault, he's the one who introduced them to the wildwood weed. :D
 
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