Author Topic: Beatles Vocal/Bass/Guitar etc Isolations  (Read 511 times)


grassbath

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #1 on: January 06, 2019, 09:27:58 AM »
Bass and drums on A Day in the Life:

https://www.youtube.com/watch?v=kXAkBUwlJKs

Just so, so great.

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #2 on: January 06, 2019, 09:43:09 AM »
Buzby will know better from the sound alone, but my understanding is that Here Comes The Sun uses a moog, not a harmonium.

buzby

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #3 on: January 06, 2019, 12:49:13 PM »
Buzby will know better from the sound alone, but my understanding is that Here Comes The Sun uses a moog, not a harmonium.
Yes, it was George's Moog III-,P, it sounds nothing like a harmonium.

From the 1969 Abbey Road tape logs, the Moog was overdubbed on Here Comes The Sun on the 19th of August (the last overdub session for the album).

George had ordered his Moog III-P after Mickey Dolenz' used his (serial no. 1)  on The Monkees' 1967 album Pisces, Aquarius, Capricorn, and Jones Ltd., and Roger McGuinn used his on The Byrds' 1968 album The Notorious Byrds Brothers' LP (The Rolling Stones had also ordered and received a III-Ps before Harrison, but hadn't used it on any recordings by that point).

Harrison was in the States in October/November 1968 and did session guitar work on Jackie Lomax's Is This What You Want?, and Bernie Krause, LA's main Moog exponent at the time, was also on the sessions. No Time Or Space was recorded during those sessions, which was later released on Harrison's Electronic Sound album the following May, and proved to be contentious due to the amount of actual input Harrison actually had on it, and the lack of a credit for Krause.

It was during those sessions that George ordered his synth, receiving serial no. 2 in February 1969, when he recorded Under The Mersey Wall at Esher to complete Electronic Sound. After Harrison had his shipped to Abbey Road for use on the album sessions in August 1969, George Martin ordered an identical machine with the same optional modules which was delivered in September 1969.

These are all the isolated stems that have been ripped from The Beatles edition of Rock Band aren't they? I sometimes wonder what assurances Harmonix gave to the bands about how secure their file formats were when they were negotiating for access to masters to make those games.

« Last Edit: January 06, 2019, 01:24:41 PM by buzby »

Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #4 on: January 06, 2019, 02:04:54 PM »
Apologies, yes, I should have known it was a Moog.

Yes it's all Rock Band. Most of the videos get taken down but not all. Of course Apple could just put the stuff out themselves digitally if they were so minded.

buzby

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #5 on: January 06, 2019, 02:21:18 PM »
Yes it's all Rock Band. Most of the videos get taken down but not all. Of course Apple could just put the stuff out themselves digitally if they were so minded.
I expect the last thing they want to do is effectively sanction bootleg remixes. While it's still unofficial they can still go after people if they use them without their defence being undermined by effectively providing the ammunition. I also doubt the remaining Beatles (i.e. McCartney) would sanction their bare multitracks being released, given the effort they put into the final mixes (on a Beatles-specific note , Harmonix were given access to at least some of the pre-bouncedown 8 track masters, which were a generation before the 4-track bouncedown master tapes that the final mixes were produced from).

Better Midlands

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #6 on: January 06, 2019, 03:00:47 PM »
I expect the last thing they want to do is effectively sanction bootleg remixes. While it's still unofficial they can still go after people if they use them without their defence being undermined by effectively providing the ammunition. I also doubt the remaining Beatles (i.e. McCartney) would sanction their bare multitracks being released, given the effort they put into the final mixes (on a Beatles-specific note , Harmonix were given access to at least some of the pre-bouncedown 8 track masters, which were a generation before the 4-track bouncedown master tapes that the final mixes were produced from).

You can download a lot of these stems as packs from here (Russian based site that's not quite as dodgy as it sounds)

https://remixpacks.ru/?s=Beatles

buzby

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #7 on: January 06, 2019, 03:20:05 PM »
You can download a lot of these stems as packs from here (Russian based site that's not quite as dodgy as it sounds)

https://remixpacks.ru/?s=Beatles
They might have some stem packs that were released legally by labels for remix competitions on that site (the link to a DMCA claim form at the bottom of each page should tell you something though), but there's no way those Beatles ones are. They are the MOGGs from Rock Band.

Better Midlands

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #8 on: January 06, 2019, 03:26:10 PM »
They might have some stem packs that were released legally by labels for remix competitions on that site (the link to a DMCA claim form at the bottom of each page should tell you something though), but there's no way those Beatles ones are. They are the MOGGs from Rock Band.

The site aggregates the stems from wherever they can find them, loads from Rock Band and Guitar Hero on there.

It's pretty great being able to download them and putting them into a DAW (Audacity works well) and having the multitracks at your fingers. Let's you do alternate mixes of tracks to your taste e.g. Joy Division - Love Will Tear Us apart with the synths and drums removed sounds fantastic

https://youtu.be/XmalyT0IGtw

buzby

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #9 on: January 06, 2019, 03:42:21 PM »
The site aggregates the stems from wherever they can find them, loads from Rock Band and Guitar Hero on there.

It's pretty great being able to download them and putting them into a DAW (Audacity works well) and having the multitracks at your fingers.
There's no way the site could exist anywhere outside Russia or China though, where copyright laws basically mean nothing - it would have been long closed down by the labels before now.
Quote
Let's you do alternate mixes of tracks to your taste e.g. Joy Division - Love Will Tear Us apart with the synths and drums removed sounds fantastic

https://youtu.be/XmalyT0IGtw
That's basically how it would have turned out with Peter Hook in charge instead of Hannett...:)

Better Midlands

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #10 on: January 06, 2019, 03:51:30 PM »
There's no way the site could exist anywhere outside Russia or China though, where copyright laws basically mean nothing - it would have been long closed down by the labels before now.

It was down over Christmas 'cos it had change server

Better Midlands

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #11 on: January 06, 2019, 03:54:48 PM »
That's basically how it would have turned out with Peter Hook in charge instead of Hannett...:)

Ha! Someone in the comments says they find Hannet's vocal processing even more annoying now they can hear it better.

MiddleRabbit

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #12 on: January 06, 2019, 05:13:48 PM »
Flippin' Lousy.

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buzby

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Re: Beatles Vocal/Bass/Guitar etc Isolations
« Reply #13 on: January 06, 2019, 09:36:42 PM »
Ha! Someone in the comments says they find Hannet's vocal processing even more annoying now they can hear it better.
To be fair to Martin, he did produce two versions of it. The original attempt at recording it from Pennine Studios in Oldham in January 1980 doesn't have much effects on Ian's vocals, and was on the B-side of the original 12".

Although the rest of the band liked it as it sounded more like the live version, Ian didn't like his vocals on this version so they had another go at recording it at Strawberry in Stockport in March, which was finished off during the Closer Sessions at Britannia Row Studios. Ian preferred this version (even with Martin's trademark AMS DMX 'wide pan' microsecond delay on his vocals) and it was put out as the A-side of the single

The Pennine one always sounds a bit flat and lifeless to my ears, but it is more representative of how they played it live. Ian was the only member of the band whose opinions Martin held in any esteem, so if Ian didn't like the effects on his vocals he would have said so (though it's arguable how much Ian cared about anything  to do with the band by that point).

One thing about the Strawberry version is how aggressive Steve's drumming is. While working on it at Britannia Row, it had got to midnight and Steve asked Martin if he needed him as he was knackered and wanted to go back to their rented flat to go to bed. Martin said, "No, it's fine, you go off to bed.". He got off to sleep, but was woken by the phone at 4am to be told that Martin wanted him back to redo the snare drum, at which point he exploded and screamed  'YOU FUCKING BASTARD!!!' down the phone. You can hear his resulting anger in the drumming (which may actually have been Martin's intention, as he was a devious sod).
« Last Edit: January 06, 2019, 11:08:41 PM by buzby »