WEBVTT - Giles Martin, Part 2 0:00:15.436 --> 0:00:22.876 Pushkin. Today we have part two of Rick Rubin's conversation 0:00:23.116 --> 0:00:25.676 with Giles Martin, and before we get too far, I 0:00:25.716 --> 0:00:27.156 want to let you know that Rick has a new 0:00:27.196 --> 0:00:31.356 podcast called Tetragrammaton. After about four to five years of 0:00:31.356 --> 0:00:34.196 recording Broken Record, Rick decided he wanted to talk to 0:00:34.396 --> 0:00:37.356 more than just musicians, So on his new podcast, he'll 0:00:37.396 --> 0:00:43.236 be talking to actors, directors, wrestlers, business people, anyone that 0:00:43.356 --> 0:00:46.996 Rick finds interesting. So make sure to subscribe to Tetragrammaton 0:00:47.236 --> 0:00:51.516 wherever you listen to podcasts. Now back to Giles. In 0:00:51.556 --> 0:00:54.276 part one a few weeks ago, Giles talked about his 0:00:54.316 --> 0:00:59.116 delicate work remastering classic Beatles albums. He also explained how 0:00:59.156 --> 0:01:02.596 we collaborated with Peter Jackson's audio team and used AI 0:01:02.716 --> 0:01:06.796 while remastering Revolver. Definitely go check out that episode if 0:01:06.836 --> 0:01:10.716 you haven't already. In part two, we'll hear Giles talk 0:01:10.716 --> 0:01:13.876 about his dad, Sir George Martin, who never second guessed 0:01:13.916 --> 0:01:17.796 his own genius. Giles also shares hilarious stories from his 0:01:17.876 --> 0:01:20.716 time as a teenager living at his father's storied studio 0:01:20.876 --> 0:01:25.196 that was destroyed by volcano and the Caribbean Plus Giles 0:01:25.196 --> 0:01:28.436 talks about the time he was fired and then rehired 0:01:28.476 --> 0:01:35.716 by the legend Martin Scorsese. This is broken record liner 0:01:35.756 --> 0:01:39.516 notes for the digital age. I'm justin Mitchman. Here's Rick 0:01:39.596 --> 0:01:42.876 Rubin with Giles Martin from Shango La. We're jumping right 0:01:42.876 --> 0:01:46.556 back into the conversation about the sensitivity around working with 0:01:46.596 --> 0:01:50.676 the Beatles original recordings. Have you ever had an issue 0:01:50.756 --> 0:01:56.676 with over time sometimes the sound on the tape changes, 0:01:56.796 --> 0:01:59.156 like the like the top end. I've had that happen 0:01:59.276 --> 0:02:02.356 even during the making of an album like now it 0:02:02.396 --> 0:02:04.676 takes two years to make from the time he cut 0:02:04.716 --> 0:02:07.116 the tracks till the time you're ready to mix it, 0:02:07.116 --> 0:02:10.556 it doesn't sound the same. Yeah, what's this bizarre kind 0:02:10.556 --> 0:02:14.116 of like you know, Holy Grail type thing is that 0:02:14.156 --> 0:02:18.436 the Beatles record on EMY tape and EMY tape was 0:02:18.516 --> 0:02:21.476 higher quality than other tape, and so there's yeah, there's 0:02:21.556 --> 0:02:27.116 there's there's tape from the seventies, especially eighties actually where 0:02:27.156 --> 0:02:30.956 everything the oxides are falling off the tape and all 0:02:30.956 --> 0:02:33.236 the things happening, especially the twenty four tract tapes we 0:02:33.316 --> 0:02:35.156 used to have, and what exactly what we're talking about. 0:02:35.356 --> 0:02:37.516 You play at once you can see the tape heads 0:02:38.076 --> 0:02:40.916 getting darker and dark as you're playing, and you're losing 0:02:40.956 --> 0:02:43.156 that music and that information as you're playing that you're 0:02:43.236 --> 0:02:46.396 watching your work disappear in front of your eyes and 0:02:46.476 --> 0:02:48.116 your rise in you. And then you bake the tape 0:02:48.116 --> 0:02:50.116 so it seals your sides back on and then you 0:02:50.156 --> 0:02:52.796 get to play at once, and then that's it. The 0:02:52.836 --> 0:02:55.076 Beatles doesn't happen. Bizarrely, it just doesn't have. We have 0:02:55.236 --> 0:02:57.836 never had to bake a tape. I mean we we've 0:02:57.876 --> 0:03:00.436 now transferred I think in super high resolution and everything 0:03:00.556 --> 0:03:02.716 backed up, et cetera. Escially, we don't. You know, I'm 0:03:02.756 --> 0:03:07.116 not sitting there listeners and pressing play. You know, maybe 0:03:07.436 --> 0:03:09.476 people would like me to be doing but I'm not 0:03:09.516 --> 0:03:11.876 doing that. I'm actually pressing a space bar when I'm mixing. 0:03:12.716 --> 0:03:18.156 That's cool, It's well, it adds to the miraculous nature 0:03:16.636 --> 0:03:20.476 it is. It is. It is very strange, and even 0:03:20.756 --> 0:03:23.156 you know, I suppose I'm one of the closest people 0:03:23.156 --> 0:03:24.676 in the world to it, and in a way which 0:03:24.716 --> 0:03:27.396 I never thought I would be planned on being. But 0:03:27.556 --> 0:03:30.636 I still find it miraculous. I still find miraculous that 0:03:30.956 --> 0:03:33.956 all of these tapes, I mean, there's only there's two 0:03:34.036 --> 0:03:38.196 songs which don't have the original original multi tracks, of 0:03:38.916 --> 0:03:41.036 which there's no other band like that in the world. 0:03:41.596 --> 0:03:43.436 And this is a band that studden ninety sixty three 0:03:43.476 --> 0:03:47.076 and finished in sixty nine seventeen. Everything is there and 0:03:47.156 --> 0:03:49.316 everything is everything is in the same place, and it's 0:03:49.356 --> 0:03:51.916 in really concondition. It's like it's like, I suppose they 0:03:51.916 --> 0:03:54.436 were lucky as they were successful, but there was something. 0:03:54.436 --> 0:03:57.076 There's something about the Beatles, even talking to them, and 0:03:57.116 --> 0:03:59.196 even talking to my dad. I said to my dad, 0:04:00.196 --> 0:04:02.156 I was working I do these I do films when 0:04:02.156 --> 0:04:03.796 I'm not doing blad Juts films. I was working this 0:04:03.956 --> 0:04:08.116 Kinsman film, sort of spy capers, and I said to him, 0:04:08.116 --> 0:04:09.356 I was I was trying to work on a scene. 0:04:09.396 --> 0:04:11.156 I was struggling, and it's doing with film companies and 0:04:11.236 --> 0:04:13.076 know what they're like, They're like, I said, were you 0:04:13.116 --> 0:04:15.116 ever do you ever think you were bad at music? Dad? 0:04:15.636 --> 0:04:18.516 He has a strange question to ask me, and he 0:04:18.596 --> 0:04:21.876 was very sick at the time. I said, because I'm 0:04:21.956 --> 0:04:24.596 struggling with this. You know, I always think I can't 0:04:24.636 --> 0:04:26.476 do something and then I end up doing it. I've 0:04:26.476 --> 0:04:28.156 done it, and then I feel like I haven't done it. 0:04:28.236 --> 0:04:30.956 And there's sort of like this gallm like mentality of 0:04:31.036 --> 0:04:32.596 someone going, you can't do this, and then of course 0:04:32.636 --> 0:04:35.036 you can, and this I fight with my I fight. 0:04:35.196 --> 0:04:37.396 He goes and he closed his eyes and he and 0:04:37.476 --> 0:04:39.916 he opened them. He said, nine, No, I always thought 0:04:39.916 --> 0:04:44.996 I was brilliant and and and I too, reacts to that. 0:04:45.036 --> 0:04:47.836 It's like one is you total bastard, because like I 0:04:47.876 --> 0:04:51.116 wish I felt like that, and the other one was, yeah, 0:04:51.156 --> 0:04:53.716 you were you know. They were like, and I've used 0:04:53.756 --> 0:04:56.676 analogy before. It's like surfing. You know, I know I've 0:04:56.716 --> 0:04:58.396 done good things in my life. I know that, but 0:04:58.516 --> 0:05:00.436 most of the time, and that's surfing. I've been on 0:05:00.476 --> 0:05:02.756 a wave and it's like this is this is great, 0:05:02.916 --> 0:05:05.236 But most time, you know, you've surfed way more than 0:05:05.276 --> 0:05:09.956 I have, but physically and spiritually. But most of the 0:05:09.956 --> 0:05:12.276 time I'm treading water, I'm paddling getting hit by waves 0:05:12.316 --> 0:05:14.516 an occasionally might catch one. They were on a wave 0:05:14.516 --> 0:05:16.796 of the whole time, like they were doing revolvers, like 0:05:16.876 --> 0:05:18.756 we've got this idea, let's do this, let's do this, 0:05:19.116 --> 0:05:21.436 and it all worked for them. It was like it's 0:05:21.476 --> 0:05:24.716 amazing and they knew that. And then other people knew that, 0:05:24.756 --> 0:05:26.516 so they preserved what they were doing. There was this 0:05:26.836 --> 0:05:29.636 momentum that happened with the Beatles that has never been 0:05:29.676 --> 0:05:32.916 seen since. It's the sort of energy they had. And 0:05:32.996 --> 0:05:35.116 that's the thing that if I talked to Paul or 0:05:35.116 --> 0:05:37.716 took to Ringo when I when I like mix an arbor, 0:05:37.836 --> 0:05:40.756 you know, sit with the capital. We're a capital with 0:05:40.796 --> 0:05:44.316 Paul and we listened to a revolver together. What he senses, 0:05:44.476 --> 0:05:48.476 what he misses in his life is that bandy because 0:05:48.516 --> 0:05:50.516 it was and you know this used they're that brilliant 0:05:50.516 --> 0:05:53.316 television program with him. Yes, and you're the other person 0:05:53.356 --> 0:05:55.236 that spent the time with Paul talking about us. It 0:05:55.276 --> 0:05:59.036 was interesting. It's going back to we're talking about making 0:05:59.076 --> 0:06:02.396 great records and do with equipments about people. They don't 0:06:02.436 --> 0:06:05.996 know how they had what they had. They don't know 0:06:06.036 --> 0:06:09.836 how the four of them managed to create this surfing 0:06:09.876 --> 0:06:12.676 the wave all the time, and if one of them 0:06:12.716 --> 0:06:14.676 was going to fall off, they pulled them back on 0:06:15.316 --> 0:06:18.276 and carried on surfing. And that's what that's what being 0:06:18.276 --> 0:06:20.836 a that's what being a great band is that some 0:06:20.996 --> 0:06:23.156 of the parts is way bigger than the individuals. It's 0:06:23.156 --> 0:06:25.276 one of the great things I remember that Paul said 0:06:25.396 --> 0:06:28.556 in the in the three two one series was he 0:06:28.676 --> 0:06:32.596 talked about the first time that Ringo filled in for 0:06:32.636 --> 0:06:35.036 their drummer who wasn't doing who wasn't able to do 0:06:35.076 --> 0:06:39.556 a show, and the feeling he said he looked at 0:06:39.636 --> 0:06:42.196 John right away and it's like, I hope we could 0:06:42.316 --> 0:06:44.956 keep doing this, Like like again, they didn't know that 0:06:44.996 --> 0:06:48.516 in advance. It happened, and then it's like, oh, this 0:06:48.636 --> 0:06:51.716 is what it's this is it? Yeah, And it's an 0:06:51.756 --> 0:06:53.756 amazing feeling. And we and we have that experience in 0:06:53.796 --> 0:06:55.476 the studio when we're working on things that we don't 0:06:55.476 --> 0:06:57.476 really know what we're doing ever, yeah, and then you 0:06:58.036 --> 0:07:01.276 hear something it's like whoa, there it is yeah, and 0:07:01.316 --> 0:07:05.436 it's like not because we did anything, but luckily we're 0:07:05.476 --> 0:07:08.076 able to say there it is when it is yeah. 0:07:08.116 --> 0:07:10.156 I mean I was doing this. I did this Alton 0:07:10.276 --> 0:07:12.876 Rocketman film and and we had I got a bandon 0:07:12.996 --> 0:07:15.436 for that, and it's a film, so you have money 0:07:15.436 --> 0:07:17.756 and you have opportunities and answer stuff. And I had 0:07:17.796 --> 0:07:19.996 to record a bunch of Alton stuff and I got 0:07:19.996 --> 0:07:22.116 this band and some of his some of his early work, 0:07:22.996 --> 0:07:24.956 some of his records and the band are great. He's 0:07:24.996 --> 0:07:28.036 got an amazing, amazing musicians. I got this band. It 0:07:28.076 --> 0:07:30.276 was two young guys and two old guys. This guy 0:07:30.356 --> 0:07:32.396 robbing back in touches, the main minds, a great guitar player, 0:07:32.396 --> 0:07:35.116 and these two young guys draw and bass player and 0:07:34.756 --> 0:07:38.796 the piano player. I used Dave Hartley, and there was 0:07:38.836 --> 0:07:42.876 this chemistry on that day in the studios, just plowed 0:07:42.876 --> 0:07:45.236 through like six or seven songs, not even a click track, 0:07:45.356 --> 0:07:48.316 just like I sat there and going, well, this is easy. 0:07:48.556 --> 0:07:50.356 And you have those days and you remember those days. 0:07:50.356 --> 0:07:52.356 We remember those days and you go, you know what, 0:07:52.636 --> 0:07:55.236 whether it's recording Joni Mitchell or or you know those things, 0:07:55.316 --> 0:07:57.956 you just go, well, this is what am I doing here? 0:07:57.956 --> 0:08:00.996 And that's actually that's one of the things that You've 0:08:00.996 --> 0:08:04.196 always been inspirational, amazing at Rick is sitting back and 0:08:04.396 --> 0:08:06.796 letting it happen. And that's I always said it people, 0:08:06.796 --> 0:08:08.196 what's it like working the artists? And I work with 0:08:08.276 --> 0:08:10.356 actors more now what were singers? But it's that thing 0:08:10.356 --> 0:08:12.676 where you go, you need to tell someone they can 0:08:12.756 --> 0:08:14.396 jump out of a plane without a parachute and they're 0:08:14.396 --> 0:08:16.636 going to land safely, because that's what it is. You 0:08:16.676 --> 0:08:20.076 need to have that ability to go okay, you're in 0:08:20.116 --> 0:08:22.796 a safe space, you know, and the last thing you 0:08:22.836 --> 0:08:26.276 want And this is what your work has shown is 0:08:26.316 --> 0:08:29.196 that I I don't want to work with someone and 0:08:29.236 --> 0:08:30.876 then put to go back and sing the song in 0:08:30.916 --> 0:08:33.116 the bath better that night, do you know what I mean? 0:08:33.316 --> 0:08:35.516 That's the fear. It's like, this is your and that's 0:08:35.556 --> 0:08:38.676 what's actually that's one thing that studios do, or occasions do. 0:08:38.756 --> 0:08:42.796 That's what's changed. And you can record anywhere. Now if 0:08:42.836 --> 0:08:45.556 someone comes to your place here, they're going to want 0:08:45.556 --> 0:08:47.836 to perform. It's brick rubin, for God's sake, and this 0:08:47.916 --> 0:08:49.876 studio is I'm gonna want to perform. And that's part 0:08:49.876 --> 0:08:53.076 of the that's bigger than any piece of equipment as well. 0:08:53.396 --> 0:08:55.636 That's so important to be able to have that. And 0:08:56.836 --> 0:08:59.076 and I suppose the Beatles had Abbey Road and that's 0:08:59.076 --> 0:09:00.916 why whenever they went anywhere else, and they did, and 0:09:01.076 --> 0:09:03.596 they made great records. And Dear Prudence was done in Trident, 0:09:03.716 --> 0:09:05.436 you know, and so was I Want Issue so heavy, 0:09:05.476 --> 0:09:07.796 and you know, you know, the rooftop concert is pretty good, 0:09:07.916 --> 0:09:11.076 you know, But I love that about Abby a Road, 0:09:11.116 --> 0:09:14.396 which you know, you we've into it. It's like it 0:09:14.396 --> 0:09:18.556 can be. It's it's an interesting building. But Studio too 0:09:19.316 --> 0:09:22.116 is drab. I hate to say it, folks, but it's not. 0:09:22.236 --> 0:09:25.116 It's got a stairwall staircase, but it shouldn't be. It's like, 0:09:25.236 --> 0:09:26.756 and what happened to pink flow in the beels? They 0:09:26.796 --> 0:09:29.716 painted the walls with color. Yeah, they didn't need to 0:09:29.876 --> 0:09:32.116 the music, but the music they were like, had they 0:09:32.156 --> 0:09:34.756 been surrounded by everything, the records would pretty sounded different, 0:09:35.316 --> 0:09:36.796 do you know what I mean? It's kind of interesting. 0:09:37.436 --> 0:09:40.516 And they have those big soft things on the walls. 0:09:40.716 --> 0:09:44.556 It's almost like a room in and Singe asylum a 0:09:44.636 --> 0:09:47.156 little bit. It's a very big room, not almost it 0:09:47.196 --> 0:09:52.316 is a room. Yeah, it's a big room, like a 0:09:52.396 --> 0:09:55.836 big padded white padded room. But it has a magic 0:09:55.876 --> 0:09:58.116 to it. And you know though, when you walk into 0:09:58.116 --> 0:10:00.716 that room and you talked, so when your voice changes, Yeah, 0:10:00.716 --> 0:10:04.476 and there is some again, whether it's physically the space 0:10:05.116 --> 0:10:08.676 or psychologically in that we know what's happened in this room. 0:10:09.116 --> 0:10:12.276 It doesn't matter you show up to Abbey Road Studio two. 0:10:13.396 --> 0:10:15.796 You're gonna you're gonna do your very best. Yeah. And 0:10:15.836 --> 0:10:18.996 I always think there's something about you know, walking this 0:10:19.236 --> 0:10:22.396 walking in the shadows of giants. It's that Glenn Miller 0:10:22.396 --> 0:10:25.836 and Ella Fitzgerald and like the voices are. I think 0:10:25.876 --> 0:10:29.276 about sound wave, sound waves never dying out, Yeah, and 0:10:29.716 --> 0:10:32.516 as reflections of music from the past in that room 0:10:33.396 --> 0:10:36.156 and in a way, you know, without being too hippie, 0:10:36.196 --> 0:10:39.156 like a posh hippie. I think that's I think that's true. 0:10:39.316 --> 0:10:41.836 I just think it's true. I think you walk into 0:10:41.836 --> 0:10:44.516 a space and you're a musician, and you go, I 0:10:44.556 --> 0:10:46.716 can tell that something special has happened in this room. 0:10:46.716 --> 0:10:49.476 It's like a church. Yeah. No, it's true, and it's true, 0:10:49.516 --> 0:10:51.356 and you can feel you can you can feel it 0:10:51.396 --> 0:10:54.516 when you're there. And artists are not so different from 0:10:54.516 --> 0:10:58.076 each other. The reason that artists resonate in a space 0:10:58.316 --> 0:11:01.156 is because that's a good space to resonate it. Yeah, 0:11:01.156 --> 0:11:04.796 it's true. It's true, and it's different from it's different 0:11:04.836 --> 0:11:08.036 from being at home. It really is. That's the thing, 0:11:08.076 --> 0:11:12.316 it really is. Tell me about you mentioned earlier being 0:11:12.356 --> 0:11:15.636 your dad's ears. Talk about that. That's a that's an 0:11:15.676 --> 0:11:18.516 interesting thing, and I know about it, but I don't 0:11:18.516 --> 0:11:21.716 really know what it entailed. The nature of music is 0:11:21.796 --> 0:11:27.316 so language doesn't do it justice. Yeah, so tell me 0:11:27.356 --> 0:11:29.356 about that. How did it start and what was it like? 0:11:29.596 --> 0:11:31.196 It was interesting because I wanted to do music. I 0:11:31.236 --> 0:11:33.196 want to see music. I remember being on a skiing holiday. 0:11:33.196 --> 0:11:34.996 I was fourteen and my dad was playing the piano 0:11:35.036 --> 0:11:37.676 in the hotels. He had to do an arrangement for someone. 0:11:37.916 --> 0:11:41.196 My dad was a brilliant arranger. It was snowing. I 0:11:41.236 --> 0:11:43.236 think I didn't want to go skiing. We're in Austria, 0:11:43.476 --> 0:11:44.876 and I wanted to hang out with him. And I 0:11:45.236 --> 0:11:47.756 was sitting there and I was watching him, and he 0:11:47.796 --> 0:11:49.436 turned to go, So, Charles, what do you want to do? 0:11:50.236 --> 0:11:52.796 I said, I want to do music that He goes, well, 0:11:52.796 --> 0:11:55.036 I didn't think you can. I said, why not? He goes, 0:11:55.316 --> 0:11:57.516 I don't think you're good enough? And I was like, 0:11:57.676 --> 0:12:00.676 I was heartbroken, and but I think I was like 0:12:01.036 --> 0:12:03.076 I was said a slight punk mentality of you know what, 0:12:03.236 --> 0:12:05.436 F you? I want to do it anyway. So I started. 0:12:06.036 --> 0:12:08.756 I started busking, and I started busking in the underground 0:12:08.756 --> 0:12:10.836 when I was fifteen. You know, I was playing guitar 0:12:10.876 --> 0:12:12.596 and playing him. I was playing pubs actually when I 0:12:12.636 --> 0:12:15.396 was fifteen or sixteen, even though on he knew four songs. 0:12:15.396 --> 0:12:18.116 Me and my makes to go and playing pubs. Us 0:12:18.396 --> 0:12:20.716 played Issue really going Out with by Joe Jackson, but 0:12:20.876 --> 0:12:22.156 not in the middle bit because it was too We 0:12:22.196 --> 0:12:25.316 didn't know the chords, you know, it was like you 0:12:25.356 --> 0:12:29.236 know American Pie. It was just the songs we played anyway. 0:12:30.516 --> 0:12:33.196 And then what happens my dad? You know, when I 0:12:33.236 --> 0:12:35.556 was about a year after he started realizing, and it 0:12:35.596 --> 0:12:37.276 was when they were larning a tape machine. They started 0:12:37.316 --> 0:12:40.556 playing like fifteen nips to fifteen k He was he 0:12:40.636 --> 0:12:43.476 sort of meters moving and he realized that he wasn't 0:12:43.836 --> 0:12:47.516 he wasn't hearing it anymore, and he asked the engineer. 0:12:47.516 --> 0:12:49.436 He goes, what's you know what what the frequencies at 0:12:49.476 --> 0:12:51.436 ten kularts like I can't hear that anymore, And he 0:12:51.436 --> 0:12:53.596 started realizing that he had. He was suffering from hearing 0:12:53.676 --> 0:12:56.596 loss and hearing damage and it was quite fast. But 0:12:56.756 --> 0:12:59.836 you know, my dad was a brilliant man, lovely man, 0:12:59.876 --> 0:13:02.236 but he's a terrible businessman. And he didn't he signed 0:13:02.236 --> 0:13:06.236 a world as royalties from the records, so he needs 0:13:06.236 --> 0:13:08.316 to carry on working, you know, he didn't working to 0:13:08.396 --> 0:13:10.676 live like most people do. And he didn't want to 0:13:10.716 --> 0:13:14.356 lose his job, so he didn't tell anyone. When photographs 0:13:14.396 --> 0:13:16.196 of my dad does he had long hair, like a 0:13:16.196 --> 0:13:18.316 long hair wet beyond his ears because he didn't want 0:13:18.316 --> 0:13:20.196 to hide it. He hid his hearing enge from people. 0:13:21.276 --> 0:13:24.756 And I started becoming his ears. And I don't know 0:13:24.756 --> 0:13:29.276 how it happened. There wasn't a progressive decision. It happened organically. 0:13:29.316 --> 0:13:31.436 He would play me stuff and I would then listen 0:13:31.476 --> 0:13:33.876 to it. And here I remember when the first CDs 0:13:33.916 --> 0:13:35.596 came out, the Beatles and Red Blue albums. He goes, 0:13:35.636 --> 0:13:37.396 I don't think they sound right. And they didn't sound right. 0:13:37.756 --> 0:13:40.156 They sound too bright, they sound digital, they sound I 0:13:40.156 --> 0:13:42.076 went into have your Own and had a massive argument 0:13:42.116 --> 0:13:44.316 as a seveneen year old with a mastery engineer and 0:13:44.316 --> 0:13:47.676 old marsh engineer who also probably couldn't hear as well. 0:13:49.916 --> 0:13:52.036 That's probably the only person who could hear at that stage. 0:13:52.396 --> 0:13:54.636 So that's what happened. He would work on records and 0:13:54.676 --> 0:13:56.876 I would and he would explain to me. Would sit 0:13:56.876 --> 0:13:59.836 at the piano and he would play. We would play 0:13:59.916 --> 0:14:01.316 scale on the piano. He would tell me where the 0:14:01.356 --> 0:14:03.156 notes would run out for him. He got to the 0:14:03.196 --> 0:14:05.076 stage where he couldn't at the end, he couldn't hear 0:14:05.116 --> 0:14:08.596 anything above a middle C on a piano, which is 0:14:08.676 --> 0:14:10.476 quite low. It's like I can't. I can remember. I 0:14:10.556 --> 0:14:11.796 used to think as a killer hurts, but it's not. 0:14:11.796 --> 0:14:15.076 It's below that. To begin with, It'd be like I'd 0:14:15.076 --> 0:14:17.116 be able to read his arrangements and nobody's trying to 0:14:17.156 --> 0:14:19.996 do and then we'd go and record and he wouldn't 0:14:19.996 --> 0:14:23.036 never hear the top string lines. And so I knew 0:14:23.036 --> 0:14:27.276 what frequencies were really and we've sat like doing stuff 0:14:27.276 --> 0:14:28.396 and I said, you know him is if you know 0:14:28.436 --> 0:14:30.876 this is, and I can go, this is seven K, 0:14:30.996 --> 0:14:33.156 this is this is what. I don't solo stuff on 0:14:33.276 --> 0:14:34.996 a mix at all. It doesn't make any sense to 0:14:35.036 --> 0:14:37.516 me to do. So it's interesting because because I find that, 0:14:37.996 --> 0:14:40.436 like I'm doing Beetles stuff, I won't work on John's 0:14:40.516 --> 0:14:44.516 voice and get John's voice sounding good. I'll work on 0:14:44.596 --> 0:14:47.876 John's voice in the song in the kind always because yeah, 0:14:47.876 --> 0:14:51.236 because I find that, you know, it changes, like like 0:14:51.636 --> 0:14:55.396 for instance, current it was I think a little healthier friends. 0:14:55.396 --> 0:14:57.996 I mean where Ringo's voice was in the mix, and 0:14:58.036 --> 0:15:01.956 also how Paul's bass was dramatically affected the sound of 0:15:02.196 --> 0:15:04.756 ringos voice. Actually, sorry, where's Paul's bass was in the mix? 0:15:04.836 --> 0:15:06.836 If it was central? I think it's left hand side. 0:15:06.836 --> 0:15:08.756 It's not like that. I can't remember. But if I 0:15:08.796 --> 0:15:11.956 put it central, Ringo's voice would change. And it's that thing. 0:15:11.956 --> 0:15:15.436 So why would I soloway wild solo and then the 0:15:15.476 --> 0:15:17.636 base changes the voice anyway? All the sort of stuff. 0:15:18.996 --> 0:15:21.596 So I learned about frequencies and became his ears and 0:15:21.676 --> 0:15:24.916 became we did We did a project at Pete Townshend 0:15:25.116 --> 0:15:28.556 at hit Factor in New York, and Pete, who to 0:15:28.636 --> 0:15:32.836 his own omission, has hearing issues. Why should we be surprised, 0:15:34.636 --> 0:15:37.196 he said to me. I mean recently he gave me 0:15:37.236 --> 0:15:39.636 his book and he's one of the few people that 0:15:40.276 --> 0:15:42.476 he mentioned me in his book. Like because I was hidden, 0:15:42.596 --> 0:15:44.596 I was I was the person that didn't exist, and 0:15:44.676 --> 0:15:47.396 no one wanted not everyone wanted George Martin. No one 0:15:47.396 --> 0:15:51.996 wanted George Martin's son, which is listen, I wouldn't. So 0:15:52.036 --> 0:15:54.836 I was seeing as this precocious kind of like I 0:15:54.916 --> 0:15:57.396 want to be hanging around a studio person. I had 0:15:57.436 --> 0:16:01.036 to be very careful not to you know, not to interfere. 0:16:01.076 --> 0:16:05.236 At the same time, I would have to be responsible 0:16:05.356 --> 0:16:07.676 to protect my dad. And there was a time where 0:16:07.716 --> 0:16:09.596 where bands he was working, I mean, I spent a 0:16:09.636 --> 0:16:11.636 lot of time mons around the Caribbean. He was working 0:16:11.636 --> 0:16:14.756 on an eighties band called Ultravox, who are very nice guys. 0:16:15.196 --> 0:16:17.676 And the bass player count of the studios as he 0:16:17.796 --> 0:16:22.716 was going into the studios, and the basse player goes, basically, 0:16:22.796 --> 0:16:24.316 how's it going in there? Georges are going okay? And 0:16:24.316 --> 0:16:28.316 he went two boiled eggs? He thought, what do you 0:16:28.356 --> 0:16:30.196 have for lunch? You thought was the question? The base 0:16:30.276 --> 0:16:32.036 lay realized that maybe you couldn't hear as well as 0:16:32.036 --> 0:16:34.316 he thought. You know, but the thing about hearing, and 0:16:34.316 --> 0:16:37.316 I've talked to people about this, is that your hearing 0:16:37.356 --> 0:16:40.636 ability doesn't mean you can make good records of bad 0:16:40.676 --> 0:16:44.236 records for sure. And even though when my dad lost 0:16:44.276 --> 0:16:47.996 his hearing, he could sense things and yeah, you can 0:16:48.116 --> 0:16:50.596 feel it. I spent to Bob Claymount that this last week. 0:16:50.596 --> 0:16:54.676 Actually we're talking about he's an amazing mixed engineering. He 0:16:54.716 --> 0:16:57.716 knows that he may not have not not much top 0:16:57.796 --> 0:16:59.116 end as he had before, but he knows he doesn't 0:16:59.116 --> 0:17:01.396 make bright reds brights any records. He's trying to work 0:17:01.436 --> 0:17:04.676 out why that is. Yeah, I think that it's more 0:17:05.636 --> 0:17:07.836 we hear it not just with our ears, we hear 0:17:07.836 --> 0:17:10.516 it in a different way. Yeah, yeah, we did. I did. 0:17:10.756 --> 0:17:15.236 I did a forum actually with Andrew Shep's and for 0:17:15.356 --> 0:17:18.636 kids actually saying yeah, even if you're worried about your hearing, 0:17:18.716 --> 0:17:21.396 it doesn't mean shouldn't inhibit you from making doing this 0:17:21.436 --> 0:17:24.196 for a living. Like just because you might have perfect 0:17:24.276 --> 0:17:27.076 hearing or perfect pitch doesn't mean you're make great records. 0:17:27.156 --> 0:17:28.676 We know that, you know what I mean, Like Chris 0:17:28.756 --> 0:17:31.196 Thomas going to hear out of one ear, yeah, you know, 0:17:31.236 --> 0:17:33.716 and he's made great records. Yeah, and they are a 0:17:33.716 --> 0:17:36.956 great um. You know, Chuck Close is a great artist 0:17:36.956 --> 0:17:41.596 and he's blind. Yeah, yeah, a great visual artist. Yeah, exactly, yeah, exactly. 0:17:41.636 --> 0:17:44.876 So it's yeah, it's a it's an interesting thing. We 0:17:44.956 --> 0:17:46.756 have to take a quick break here and then we'll 0:17:46.796 --> 0:17:49.356 be back with more from Rick Rubin and Giles Martin. 0:17:53.916 --> 0:17:56.796 We're back with more from Rick Rubin and Giles Martin. 0:17:57.756 --> 0:18:02.796 Tell me about Monserrat, Well, Monserrat, Monsrat is my dad's dream, 0:18:03.076 --> 0:18:05.636 Like it's that thing. It's like my dad always did 0:18:05.676 --> 0:18:08.556 this thing, unless he did he build the studios, He 0:18:08.596 --> 0:18:11.476 tell me about well, he wanted to build a studio, 0:18:11.556 --> 0:18:14.276 so he my dad's always wanted to build places where 0:18:14.276 --> 0:18:16.556 things happened, so he wasn't he was. He was at 0:18:16.596 --> 0:18:19.796 Abbey Road. I was to start working at fifty. He 0:18:19.916 --> 0:18:22.356 left in sixty six, I think he was still in 0:18:22.396 --> 0:18:24.236 the Beatles and he built Air Studios, which is a 0:18:24.316 --> 0:18:27.596 place in Oxa Circus, which I visited and it was incredible. 0:18:27.636 --> 0:18:29.876 It was a great studio. It was a fantastic studio. 0:18:29.996 --> 0:18:33.156 Was it formerly a church? No? No, okay, Air Studios 0:18:33.396 --> 0:18:35.716 now as a church. And that was one of the nineties. 0:18:36.036 --> 0:18:39.516 The first one was in ox of Circus, right, So 0:18:39.596 --> 0:18:42.636 that's that's another one of his legacy studios. During the 0:18:42.676 --> 0:18:45.956 London time, he decided he had some money, which he thought. 0:18:45.996 --> 0:18:48.396 This was very uncomfortable for my dad any money, so 0:18:48.636 --> 0:18:50.076 he went, he went, you know, I'm going to go 0:18:50.116 --> 0:18:52.916 and build. He was gonna building students on a ship. 0:18:52.956 --> 0:18:55.076 At one stage he bought a Norwegian even to buy 0:18:55.116 --> 0:18:57.716 a Norwegian ferry and build the studios on that. That 0:18:57.796 --> 0:19:00.116 sounds incredible, but then he realized the engine noise again, 0:19:00.196 --> 0:19:01.996 that wouldn't give him what he wanted. So then he 0:19:02.196 --> 0:19:04.556 looked in the Caribbean Monster at wasn't it was an 0:19:04.636 --> 0:19:06.916 island which no one went to because it was a 0:19:06.996 --> 0:19:10.756 volcanic island. It wasn't very tourist and he went perfect okay, 0:19:10.956 --> 0:19:13.636 difficult to get to and he built the studios and 0:19:13.676 --> 0:19:16.396 he built the studios which was what became was one 0:19:16.396 --> 0:19:17.796 of the best studios in the world at the time. 0:19:17.796 --> 0:19:20.236 I hadn't need desk. Then later on SSL just when 0:19:20.276 --> 0:19:22.996 that came in, put in an SSLG series what you'd 0:19:23.076 --> 0:19:24.956 he built it, you know, nineteen seventy seven was when 0:19:24.956 --> 0:19:28.476 it started being built open maybe seventy eight seventy nine, 0:19:28.516 --> 0:19:30.436 and it was a studios the same as the studios 0:19:30.476 --> 0:19:33.436 he had in London, and it became a matched the 0:19:33.476 --> 0:19:37.756 footprint or same same same idea, yes, so same, but 0:19:37.876 --> 0:19:40.556 it was living there were living there. There were villas 0:19:40.556 --> 0:19:42.396 being rented and we had a house that people stayed 0:19:42.436 --> 0:19:46.236