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we have the privilege of re mixing
myself in San Sergeant Pepper last year
and it was incredibly nerve-racking both
of us but we were delighted with the
results and they came out and the fans
were happy and that brings us some the
white out it was recorded and approached
in a very different way for the Beatles
Sonjay effort they were trying to paint
pictures with sound and the Y numbers
are much more visceral much more blank
canvas for the band
[Music]
it's a bizarrely eclectic album of so
many different textures and tastes now
which is typical Beatles but there's one
thread that the white album has which
we're trying to continue what we're
doing here is bringing the listener
closer to the music rate bring them into
the studio
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[Applause]
[Music]
with pepper we had the mono standpoint
of the band and we knew what they wants
to do with this one of the biggest
challenges is you can't make the white
album the sound too good and too high
five because it ruins the spirit of the
white out comparing remix in this album
and comparing Sergeant Pepper this is
definitely been harder because there are
fewer layers that production is more
stripped back and more simple that's
obviously what they were going for not
layering up lots of sounds the
fascinating great thing for us on some
of the white-armed is there's 30
different tracks and they've been
recorded different places each one of
them very different and each one was
sounding different and that in a way is
what we have to embrace when we're doing
a project is there's no template is
that's the thing there's no two tracks
under the same in mimics in this music
it's kind of about having a detail in
every part of what we're doing and
always referencing the original mixes
and the original tapes so that kind of
journey starts right back with what are
the original session tapes so this is
Blackbird that gives you the information
about the number of takes and lovely
detail of that the four tracks showing
you got a Mike on Paul's foot tapping it
so the first part of our process is to
get the best possible transfer of these
tapes
take these broken wings and learn to fly
all your life we're obviously trying to
retain the the character whatever makes
these songs special so we go back to the
original bits of kit
so these fairchild can press us down
here or one of the arsenal of tools that
Geoff Emerick and Ken Scott the
engineers used to create kind of extreme
sounds that push them to their limits
and also these Altech compressors were
especially modified by the EMI engineers
and add and still have a fantastic sound
so we've used those in our remixes to to
get the same the same character and also
mixing desks this is the same type of
mixing desk that was in studio two and
in studio three during the 1960's with
all valve preamplifiers on the input and
output stages so they have a very
certain characteristic when you
overdrive them so we've used all these
original period effects which we still
have here at Abbey Road
the White Album cabinet an interesting
to have the Beatles because they had
almost gone off crazily in different
directions after pepper bill talked
about the White Album being so
dysfunctional album however what we
found from going to the tapes actually
the sessions were in really good spirit
I mean throughout there was a bond with
the band was going on there was a
relationship and there's laughter other
tapes and it was a different process
with the white out I didn't I felt free
it was almost like the lunatics techno
of the asylum and they could felt I
could do whatever they wanted the
studios and they did George Harrison
tells the story about my dad George
Martha walking when they're doing Savoy
truffle because it sounds a bit bright
George because yeah I know and I liked
it so basically get out of my bedroom
and that's the spirit of the white and
that's what makes it so great
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well the biggest discoveries we found
looking at the White House was the isha
demos and basically what happened is the
Beatles went to George Harrison's house
and they have their own tape machines
and they demoed pretty much everything
for the white helmet asleep with each
other
recording on top of that the way the
Beatles recorded the white albums they
did numerous takes one off the other so
Sam and I have been through you know
hundred I mean I think there's over 100
takes of sexy Sadie for instance and so
what we have for this box set is we
almost have a complete progression of a
number of songs in there different
iterations the Beatles had a thread they
were always good but they just did
different takes and then they found that
I won the track glass onion was demoed
early on and developed as a song the
demo version that John did the style of
it is similar to the others very coos
tick I mean you can tell that the
natural performances they have and again
double track himself
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so this is done before they go into the
studio instances before coming to Abbey
Road they then come to Abbey Road and
record us a band and this take here the
reason why the voices quiet is because
he's singing along for the band
the intention is he's gonna replace his
vocal later and so once they're happy of
the take and once they've arranged the
song in the right way they end up the
final version which is similar and you
can see has more Drive and a banner
playing tighter
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and so by listening through the
iterations the song them they're all
good and the Beatles could play and make
us sing but it also just gives anyone
listening and insight into their
creativity even though they did now
write individually when they came
together as a band they all chipped in
and then they all came up with the final
sale
[Applause]
they wanted to go back to being
abandoned pepper was very consciously
creating something new and the y term
was going back to this just performing
[Music]