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Beatles "Never Give Me Your Money"

Discussion in 'Recording Gear and Equipment [BG]' started by gsquare, Jul 1, 2017.


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  1. gsquare

    gsquare Pedal Breeders' BIGBoardClub#104;CabronitaClub#8 Supporting Member

    Jun 16, 2012
    Peoria, AZ
    So, a client of mine is enamored with the bass sound on the Beatles recording "Never Give Me Your Money" from Abbey Road. Does anyone know how it was recorded? I assume it was the Ric, but I just don't know. Any insight would be appreciated, thanks.
     
  2. Stumbo

    Stumbo Wherever you go, there you are. Supporting Member Commercial User

    Feb 11, 2008
    the Cali Intergalctic Mind Space
    Song Surgeon slow downer software- full 4 hour demo
    Tap on the title:
     
  3. Jeff Scott

    Jeff Scott Rickenbacker guru.......... Supporting Member

    Apr 11, 2006
    Tap?
     
  4. gsquare

    gsquare Pedal Breeders' BIGBoardClub#104;CabronitaClub#8 Supporting Member

    Jun 16, 2012
    Peoria, AZ
    Thank you so much, great link, lots of information! Exactly what I was looking for!
     
  5. seamonkey

    seamonkey

    Aug 6, 2004
    Abbey Road has worked with plugin makers to make much of their sacred gear available to the masses.
    Plug ins are usually free to try
     
  6. Ukiah Bass

    Ukiah Bass Supporting Member

    May 10, 2006
    According to Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums by Brian Kehew and Kevin Ryan - pp. 520 & 522:

    Recording Bass
    During the Let It Be sessions, Glyn Johns recorded Paul's bass exclusively using DI. The large Bassman cabinet was still connected so that the sound of the bass could be heard and felt in the room, but all bass going onto the multi-track tapes was a direct signal (which explains why there was never a microphone positioned in front of Paul's cabinet).

    Many tracks on Abbey Road (including "Something", "Octopus's Garden", and "Oh! Darling") also bear the distinctive sound of DI bass. This was due to the fact that significant portions of the album were recorded not by Geoff Emerick, but by younger balance engineers Jeff Jarratt and Phil McDonald. "DI for the bass was a method we often used," says Jarratt, "as was the combination of both the DI and live sound." DI was becoming quite popular at this time, and McDonald (like Jarratt and many other EMI engineers) definitely used it on his sessions, sometimes alone, sometimes in combination with the amp. (It is not surprising that "Something" was recorded using DI, as Paul's bass performance was actually recorded by Glyn Johns at Olympic). Geoff Emerick also likely used the sound of an AKG C12 in front of the cabinet, and most of the tracks he worked on are likely to have favoured that signal.

    On p. 521, a sidebar "closer look" at this song indicates the first take was on 6 May 1969. John's Fender Bass VI was recorded on Track 6. Paul was playing lead piano so it was not unusual for one of the others to handle bass. Take 30 was judged "best" and no further work was done on the track for two months. On July 11, Paul recorded his bass guitar on Track 7. On July 31, "Paul punched-in on his bass track, doubling the low notes of the Left-hand piano part. With that final addition, the song was complete."

    One other note: the Abbey Road album was completely different from all other Beatles recordings because it was done with EMI's new TG12345 solid state mixing console, which replaced the previously used REDD.51 desk.

    The new desk sounded dramatically different than the older all-valve REDD. It is not exaggeration to suggest that the TG was almost solely responsible for the sonic difference between Abbey Road and all previous Beatles albums. All other recording gear remained the same; the only item in the signal chain to change was the desk. Aside from the inherent differences between valve and transistorised gear, the fact that the desk had 24 microphone inputs and a built-in limiter and compressor for each of the inputs played a big role. Also important were the built-in "Presence Controls", which contributed to the brighter and cleaner sound. (Even though each channel had its own compressor/limiter, the Fairchilds and Altecs continued to be used as well). - p. 514
     

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