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 Post subject: Quasi EMI
PostPosted: Fri May 28, 2010 4:08 am 
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Hello everyone, I'm the latest newb on the block. :D

Anyways, I just wanted to post my services to everyone on this great site as an amateur recording engineer/lifeless Beatles nerd.

I specialize in re-creating digitally many of unique effects The Beatles employed such as:
Repeat Echo
Tape Loops
Varispeed
ADT
S.T.E.E.D.
Flanging/Phasing/Chorusing
Echo Chamber

I also have several Abbey Road VST plugins:
RS127 Presence Boxes
RS124 Altec Compressor
TG1234 Limiter/Compressor

Other VST's:
T-Racks Fairchild Limiter & Pultec EQ
Antares Mic Modeler (includes Neumann U47)
Colortone Pro
Various other vintage VST emulations, Recording The Beatles book.

Although I don't really know how to play any music, I have many Mellotron samples as well as samples of a Kalamazoo/Lowery organ.

I'm sure many of you here can accomplish this without my assistance, but if you're interested in collaborating, I'm always free. I am also deeply interested in Beatles outfakes if anyone enjoys creating those as well. Just send me a MP3 link and we discuss it further.

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"With everything now, my aim seems to be to distort it. The aim is to change it from what it is, and to see what it could be. To see the potential in it." -Paul McCartney, 1966.


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 Post subject: Re: Quasi EMI
PostPosted: Fri May 28, 2010 4:11 am 
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would love to hear some of the tape loops and mellotron effects!


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 Post subject: Re: Quasi EMI
PostPosted: Fri May 28, 2010 4:19 am 
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Certainly, I even have the flute tapes that John spliced into random bits on Strawberry Fields Forever. Tape loops are very enjoyable, nothing like that mantra-esque sound. I'll try to see what
I can cook up.

_________________
"With everything now, my aim seems to be to distort it. The aim is to change it from what it is, and to see what it could be. To see the potential in it." -Paul McCartney, 1966.


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 Post subject: Re: Quasi EMI
PostPosted: Fri May 28, 2010 4:52 am 
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http://www.box.net/rssdownload/441752768/Melloop.mp3

This is a loop of some spliced tapes from the Mellotron "Cha Cha Flute" set of pre recorded phrases.
John took alot more time than me in selecting and splicing the tapes, but this is just a demonstration.
This is the same set of tapes heard at the end of Strawberry Fields Forever, not the beginning.

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"With everything now, my aim seems to be to distort it. The aim is to change it from what it is, and to see what it could be. To see the potential in it." -Paul McCartney, 1966.


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 Post subject: Re: Quasi EMI
PostPosted: Wed Jun 02, 2010 1:19 am 
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Friend
welcome
The Melloop es beautiful.

Mellotronic, can explain me the Leslie Effect / John Voice in Tomorrow Never Knows?
I searched for information on this for years
and Mark Lewhison; Ray Newman or Ian McDonald don't say much about it.

If you like Outfakes, you gotta know LIES.

LIES (= 6 album of outfakes from 1962 to 1981)

Some of the content of LIES Vol 1
Stephanie
FICTION: The Beatles - 1966
FACT: Unknown

Pink Litmus Paper Shirt
FICTION: The Beatles - 1966
FACT: The Cheatles

Colliding Circles
FICTION: The Beatles - 1966
FACT: The Cheatles

A Fool Was I
FICTION: John Lennon - 1966
FACT: Unknown

Lonely Like A Rainbow
FICTION: The Beatles - 1967
FACT: Cohen and Shatners

Shoes
FICTION: The Beatles - 1967
FACT: Paul McCartney interview with Overdubbs - 2009

Love 'N
FICTION: The Beatles - 1967
FACT: Colours

Peace Of Mind
FICTION: The Beatles - 1967
FACT: Unknown

If you don't have LIES Collection,
i can upload it for you

Greeting from Mexico


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 Post subject: Re: Quasi EMI
PostPosted: Wed Jun 02, 2010 2:07 am 
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terrific loop! thanks so much! hope to hear more!


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 Post subject: Re: Quasi EMI
PostPosted: Wed Jun 02, 2010 6:40 am 
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Very much obliged to you both.
FYI, as a little secret, I am the creator of "Love'n". I made it as a sort game to see if could fool anyone that it was legitimate. I OOPS'ed the track and the varispeeded it. Also some actual George Martin talk.

Anyway, I can recreate the effect, if that is what you would like. Or is it something else?

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"With everything now, my aim seems to be to distort it. The aim is to change it from what it is, and to see what it could be. To see the potential in it." -Paul McCartney, 1966.


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 Post subject: Re: Quasi EMI
PostPosted: Thu Jun 03, 2010 10:00 pm 
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Mellotroniac
I'd like to hear more effects created by you.

Cha Cha flute sounds almost original but there is something that creates doubt in the atmosphere of sound


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 Post subject: Re: Quasi EMI
PostPosted: Fri Jun 04, 2010 2:54 am 
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mellotroniac wrote:
FYI, as a little secret, I am the creator of "Love'n".


That doesn't sound familiar. Are there details or links available?


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 Post subject: Re: Quasi EMI
PostPosted: Fri Jun 04, 2010 3:50 am 
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I used to have it on Youtube, till people sussed out it was a fake. Then the game was up. Some obscure Beatles bootleg site had the video. The 910.com Beatles site had a big discussion on it and someone did audio recognition and discovered it was actually by "Colours".

I posed as "Magic Alex" Mardas, telling this one guy that a "magacian never reveals his secrets" and that I had posted it, that Apple had not had their hands on it and might possibly take it down.

I guess it's hard for me to actually prove this now that I deleted the account, but I did the same for a Syd Barrett track called "Rhamadan" with faked motorcycle sounds and bongos that this lost take is supposed to have.

The idea of someone have some lost dusty old tape of an unknown Beatles song is entirely an obsession of mine, albeit somewhat romantic. Especially the whole debate about "Peace Of Mind/Candle Burns", where it's so good it's hard to know if it is fake or not, that stuff I'm mad for.


The "Cha Cha" flutes are from the Mellotron CD from the Mellotron site. I have not EQ'd or Compressed them in any fashion, which I am sure that The Beatles did, with all the glorious tube and tape saturation that I didn't emulate. They are also more than likely varispeeded on SFF, and the Mellotron's pitch knob could have also been at a different setting when they were made. But yes, I can "Leslie" anything anyone would like.

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"With everything now, my aim seems to be to distort it. The aim is to change it from what it is, and to see what it could be. To see the potential in it." -Paul McCartney, 1966.


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 Post subject: Re: Quasi EMI
PostPosted: Fri Jun 04, 2010 4:37 am 
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From "Recording The Beatles":-

The historical record is a bit murky regarding the pioneering use of the Leslie speaker. Lack of paperwork and the passing of several decades are the main culprits. The main problem is this:
The Leslie 122 was designed SPECIFICALLY to interface with the Hammond organ; there were no standard input jacks on the speaker, and it actually required power supplied by the organ. It could not be used on its own. Yet, Studio Three HAD no Hammond organ. The studio's sole Hammond RT-3 organ was usually housed in Studio Two, though if it were needed in Studio One, it could be easily wheeled across the hall. But Studio Three was situated one level up from the floor of Studio Two, and the studio staff have no recollection of the 500+ pound RT-3 ever being moved upstairs to Studio Three. It certainly wasn't a standard procedure. The studio had no lift/elevator.

One wonders, then, how the session for "Tomorrow Never Knows" - which took place in Studio Three - made use of a Leslie speaker with no Hammond organ present. Interestingly, photos of Studio Three taken just a week after that song's session show a Lowrey Heritage DSO-1 organ lurking in the corner. What is most intriguing about this fact that the Lowrey acutally contained its own BUILT-IN Leslie speaker. It was a smaller, single rotor speaker, but still created the trademark Leslie rotating sound. Could it have actually been this internal Leslie of the Lowrey that was used on "Tomorrow Never Knows"? Ken Townshend, who worked on the session, simply cannot recall.
He does confirm that the Lowrey's internal Leslie WAS indeed used to process non-organ audio on several Beatle's sessions, but has no specific memory of he "Tomorrow Never Knows" setup. Additionally, at some point, the Lowrey was actually modified to allow interfacing with a standalone Leslie speaker, whether this mod had been carried out already in 1966 is not know. Tape Op Phil McDonald's handwritten notes from the session aren't particularly illuminating either, stating that the guitar and vocal were "put through the Leslie organ speaker". The could refer to either the built-in speaker or the external speaker.

How audio might have been sent into the Lowrey is not so clear (though Townshend remembers it was not a straightforward process), but the procedure when using a Leslie with the Hammond is well-known. The fastest and crudest method would have been to simply plug into the RCA phono jacks included on each Hammond organ, and this may well have been tried initially. However, a modification was eventually developed that allowed audio to be fed DIRECTLY into the Leslie. A screened cable was soldered onto the input terminal of the speaker's internal amplifier. This cable was then brought out to a Tuchel connector. By plugging into that connector, any properly amplified external audio source could be sent into the Leslie. Of course, the speaker still had to be connected to the Hammond organ console for power (which it needed to spin and power the amplifier).

In typical use, though, instruments and microphones were NOT plugged straight into the Leslie. Instead, one of the REDD.51's unused echo sends was patched into the speaker. A vocal mic, for instance, would then be sent into the desk in the usual manner, and the Echo Send knob on this mic channel would be turned up. This would send the vocal out of the desk's echo send and into the Leslie. A second mic near the speaker would pick up the swirling sound of a Leslie'd vocal and send it back into the desk, where it could be EQ'd if needed and recorded to tape. By treating the Leslie as an effect send, several sources could be quickly tried without having to repatch and replug each time.

An outtake of "Paperback Writer" features Leslie'd piano, but was not used. The Leslie would continue to make appearances on Beatles records for the remainder of their career and became the signature guitar sound of George Harrison.

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"With everything now, my aim seems to be to distort it. The aim is to change it from what it is, and to see what it could be. To see the potential in it." -Paul McCartney, 1966.


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 Post subject: Re: Quasi EMI
PostPosted: Fri Jun 04, 2010 9:21 am 
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Interesting stuff. Perhaps a bit much to call the Leslie speaker the 'signature guitar sound of George Harrison". Did he use it that much ? I would associate his sound more with 'wah-wah' so prominently on several tracks. I didn't count, but I estimate that McCartney used Leslie more often on his piano parts than George on his guitar ?


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 Post subject: Re: Quasi EMI
PostPosted: Sat Jun 05, 2010 3:34 am 
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Signature really doesn't seem the right word to me either. I know "Lucy In The Sky With Diamonds" was the particular instance. Most of the time the Leslie guitar is so deep in the mix it gels together, rather than an entire solo for Leslie guitar. Ah well, however you like.

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"With everything now, my aim seems to be to distort it. The aim is to change it from what it is, and to see what it could be. To see the potential in it." -Paul McCartney, 1966.


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