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Speaker 1: Pushkin. Giles Martin may be the son of famed Beatles

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Speaker 1: record producer Sir George Martin, but he's also an acclaimed

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Speaker 1: record producer and composer and his own right. He's won

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Speaker 1: multiple Grammys and an Emmy for his work across TV,

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Speaker 1: music and film. He's worked on projects with The Rolling Stones,

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Speaker 1: Elton John and Metallica, and is celebrated for his work

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Speaker 1: remastering albums from the Beatles, including Sergeant Pepper's Abbey Road

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Speaker 1: and The White Album. Last October, giles remaster for Revolver

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Speaker 1: was released, along with never before heard home demos and

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Speaker 1: outtakes from the Beatles. Giles was able to separate the

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Speaker 1: original nineteen sixty six mono recording tracks with the help

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Speaker 1: of director Peter Jackson's audio team, who used AI technology.

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Speaker 1: Giles's resulting mix allows listeners to hear with clarity in

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Speaker 1: precision their original recordings like never before. On today's episode,

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Speaker 1: Rick Rubin talks to Giles Martin about his approach to

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Speaker 1: remastering the Beatles and the responsibility that comes along with it.

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Speaker 1: Giles also talks about growing up in the music industry

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Speaker 1: and how he became his dad's ears and studio sessions

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Speaker 1: when his father lost his hearing. This is broken record

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Speaker 1: liner notes for the digital age. I'm justin Mitchman. Here's

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Speaker 1: Rick Rubin in conversation with Giles Martin from Shangri La.

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Speaker 1: Tell me growing up in the house that you grew

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Speaker 1: up in. We didn't have talked about this before, so

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Speaker 1: this is interesting. What's it like growing up in such

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Speaker 1: a musical household? Let's start like that. Well, it's really hard.

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Speaker 1: Like people said to me, what's what was it like

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Speaker 1: growing ving George Martin as a as a father, and

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Speaker 1: you go, I never had a different father. I never

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Speaker 1: had different dads, So I don't know, but it was.

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Speaker 1: I'll tell you what. I'll tell you what the difference is.

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Speaker 1: And this is what I try and encourage my kids

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Speaker 1: and other people with kids. It's like music wasn't something

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Speaker 1: that was distant from me. Like playing an instrument wasn't

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Speaker 1: something that was a stranger too, because my dad was

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Speaker 1: sitting for the piano. When I was about four years old.

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Speaker 1: They said in my playgroup, what is your dad doing?

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Speaker 1: People come, my dad's a lawyer, my dad's or whatever

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Speaker 1: it is, and I'd say, my dad just sits home

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Speaker 1: and plays the piano, and I think he was running

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Speaker 1: the music for the Live and Let Die the Bond

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Speaker 1: film at that time. I think that's that was If

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Speaker 1: I look at the era, it was around about ninety

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Speaker 1: seventy four, So music was natural thing. What's interesting The

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Speaker 1: Beatles didn't it really exist to my household. It was

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Speaker 1: not that they were banned from the house. I mean

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Speaker 1: we had a copy of Abbey Road and that was it.

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Speaker 1: I think, really yeah, I did because it was something

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Speaker 1: he did. I understood. And you know, you've always been

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Speaker 1: progressive in your life. You can always bring your work

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Speaker 1: life home. Yeah, but it's also it's what you did,

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Speaker 1: what you're interesting about, what you're doing or what you're

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Speaker 1: going to do. And that's what people don't realize. Was

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Speaker 1: your dad home a lot? Or was he at studio daily? Like?

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Speaker 1: Tell me what what were days like? It's hard to

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Speaker 1: a long time ago. Yeah, but yeah, no, he he

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Speaker 1: was pretty good. He always said that he wasn't around enough.

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Speaker 1: It was interesting. I had a nanny. I had a

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Speaker 1: male nanny who was There was a band, a seventies

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Speaker 1: band called Stackridge he worked with, and the drummer from

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Speaker 1: Stackridge was unhappy being the drummer and Stackridge and became

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Speaker 1: looked after us kids. So I had a drummers as

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Speaker 1: a nanny, and my dad would be at the studios,

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Speaker 1: but I would go and see him. I mean he

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Speaker 1: was at a place for air studios which is in

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Speaker 1: Oxford Street. It's where Nike Town is now if it's

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Speaker 1: in London, they got Oxford Circus Nike Town as well,

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Speaker 1: and it was the top of that building. And I

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Speaker 1: remember as a kid he had two officers. He had

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Speaker 1: one he was part of Chrysalas Records at the time

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Speaker 1: and that was his that was obviously a record company,

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Speaker 1: and I just found that really boring. I was going

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Speaker 1: to see him there. And the other was the studios,

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Speaker 1: which one would have an elevator to quite high up,

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Speaker 1: probably the fourth floor as far as you know us

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Speaker 1: Britz goes, which is really high up for us. And

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Speaker 1: there were corridors and there was long corridor. At the

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Speaker 1: end of the corridor was a hot chocolate machine and

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Speaker 1: it was free. But on the doors which corridor, there

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Speaker 1: were rooms where things would happen. There were runs where

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Speaker 1: they would be musicians and speakers and noise and I

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Speaker 1: could sense even then as like a four or five

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Speaker 1: year old or six year old, or I could sense

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Speaker 1: that this was different from an office. This was different,

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Speaker 1: This had a different feel to it. It was perfect

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Speaker 1: natural for me to be in that environment because I

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Speaker 1: didn't know any different. What would be the music playing

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Speaker 1: in your household other than your dad playing piano. Well,

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Speaker 1: here's the here's the thing. We didn't have a stereo

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Speaker 1: system in our house because my mum didn't like speakers.

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Speaker 1: My dad used to didn't like the way they looked

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Speaker 1: with the way they sounded or the way they looked

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Speaker 1: where they looked. We did eventually get get a high

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Speaker 1: fi so me and my sister had had a record

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Speaker 1: player and we would listen to and we would get records.

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Speaker 1: We weren't I don't think we were terribly spoiled children.

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Speaker 1: We get record quite offen. Records we got were records

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Speaker 1: from my dad or labels and stuff like that, and

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Speaker 1: they would be very I remember, like we used to

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Speaker 1: listen like even the Quietest Moments by Supertramp, which is

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Speaker 1: an album that came out and as Peter Henderson was

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Speaker 1: the engineer, like who we knew? Or there was like

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Speaker 1: a Carol King album called Chicken Soup and something like that.

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Speaker 1: I alays thought Carol King was this sort of New

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Speaker 1: England housewife that made things. That I worked with her

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Speaker 1: and met her, I realized that she's more like doctor Ruth.

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Speaker 1: Funny enough, it's a character. She's brilliant. Carrol Kings, She's

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Speaker 1: found like the sort of this hot wire. There were

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Speaker 1: there were so there were these records that you know,

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Speaker 1: I was worried. We had a stand Gets album because

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Speaker 1: he was he worked with Stan Getz, and so we

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Speaker 1: had these albums that my dad had made and the

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Speaker 1: Maravisional Orchestra for example, Jeff Beck, blow by Blow. These

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Speaker 1: albums that they were. They were the albums because they

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Speaker 1: were free. And then obviously as kids, you you end

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Speaker 1: up buying you know, Bowie records. And I remember I

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Speaker 1: had Transformed. I was obsessed by Transformer by lou Reid,

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Speaker 1: you know, for instance, away these records. But I remember

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Speaker 1: my dad. My buid the memory with my dad's sitting

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Speaker 1: outside a house in the car and listening to the

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Speaker 1: work he was doing because we didn't have a stereo

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Speaker 1: at home in our living room as it were. So

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Speaker 1: many people do listen to music in the car. It's

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Speaker 1: not a bad place to listen to music. No, it's

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Speaker 1: good as you know, you and I both was a

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Speaker 1: good place to check mix. It absolutely felt less so

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Speaker 1: now funny because cars now do stuff to audio that

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Speaker 1: we don't want them to do. But yeah, usually you

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Speaker 1: can turn it off though, yeah yeah, yeah, but it's

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Speaker 1: like a second. You know, audio has become more sophisticated

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Speaker 1: at the same time, less sophisticate in a way, and

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Speaker 1: technology companies decide to do things to our music that

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Speaker 1: maybe we don't do them to do. They just want

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Speaker 1: to go. I want to listen to card because I

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Speaker 1: want to listen to what it sounds like. Simply. That's

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Speaker 1: it's an interesting thing to talk about. I know that

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Speaker 1: that was a big when the Beatles catalog was streamed,

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Speaker 1: when they decided to stream for the first time. Yeah,

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Speaker 1: you were involved in the way that was handled and

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Speaker 1: it was different than the way most other maybe all

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Speaker 1: of their music was streamed. Tell me about that. You know,

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Speaker 1: I never planned on being involved with the Beatles, you know,

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Speaker 1: I wanted to be a singer, songwriter, guitar player, and

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Speaker 1: circumstances happened that you know, nepotis and roles or you know,

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Speaker 1: whatever it is, and so I have been ever since

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Speaker 1: the Love Project, which I did in fifteen years ago,

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Speaker 1: sixteen years ago, been involved in that, and the streaming

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Speaker 1: thing came up, and I just I have this view.

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Speaker 1: I'm a bit like the kid in Mary Poppins that

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Speaker 1: that wants to feed the birds and not go to

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Speaker 1: the bank. I think music should be available to people.

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Speaker 1: And the Beatles was held off streaming, maybe because of quality,

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Speaker 1: but probably more so because they're thinking about, Okay, how

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Speaker 1: do we sell box sets and how do we I'm

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Speaker 1: getting there's kids that have no idea what this music

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Speaker 1: is because they're not buying records, and we have to

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Speaker 1: accept that. That's a you know, it's it's it's neither

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Speaker 1: good or bad, it's just it is. You know, people go,

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Speaker 1: people don't listen to albums anymore. Well, we can't judge hoppy,

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Speaker 1: but you want to make things available to people. That's

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Speaker 1: what I believe. So when the Beatles went on streaming,

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Speaker 1: I just said, I use the power that there's like

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Speaker 1: a bullying power with the Beatles saying Okay, if you

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Speaker 1: want to be on streaming, let's make sure the quality

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Speaker 1: is as good as it can be. And I don't

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Speaker 1: believe in that thing where people go, you can't you know,

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Speaker 1: artists go, you can't enjoy music because it's not good,

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Speaker 1: good quality. I listened to cassette cassettes that were cassettes

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Speaker 1: with my my thing. I'd like to be cool as

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Speaker 1: I had vinyl, but I was a generation at cassettes.

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Speaker 1: I had a cassette, not even a workman, like a

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Speaker 1: really bad player with those orange headphones that only did

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Speaker 1: fast forward and didn't rewind, you know, and have to

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Speaker 1: turn over the tape to get That's what I had,

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Speaker 1: and it came with free speakers. Two little speakers came

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Speaker 1: in the same box. But I listened to records on

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Speaker 1: that which I fell in love with. They sounded like

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Speaker 1: to me, it was like I didn't need anything else.

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Speaker 1: Our mind fills in the blanks. We can fill in

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Speaker 1: the spaces that are there. But you might as well

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Speaker 1: make things if they can be good, make things as

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Speaker 1: good as they can be. That's what we do in studios.

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Speaker 1: So with the Beatles, I went to Spotify, I went

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Speaker 1: to Apple, I went to whoever would take me and said,

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Speaker 1: how do we make the system better? How do we

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Speaker 1: get rid of normalization which compresses music? How do we

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Speaker 1: make sure the codecs are good, and so I've been working.

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Speaker 1: I started working on that with them. Let's talk about

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Speaker 1: what you found out about the way the standards were

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Speaker 1: done that you wanted to override, because again it's interesting

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Speaker 1: and nobody knows. It's only know it because you told

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Speaker 1: me about it. There's this thing called normally nation where

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Speaker 1: everything needs to be the same level. It's like life.

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Speaker 1: If everything in life is the same level, you're not

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Speaker 1: You're anither happy. You're neither happy or sad. I want

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Speaker 1: to feel stuff I don't want to. You know, I

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Speaker 1: maybe very English, you know if I sound English, I know,

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Speaker 1: but I'm emotional. I care about stuff deeply, and I

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Speaker 1: get I cry about things. It's the same with music.

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Speaker 1: That's when music to be. We want it to be.

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Speaker 1: We don't want it to be the same level. We

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Speaker 1: want it to be surprising. And I went to go

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Speaker 1: and see Spotify and Sweden and we talked about the

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Speaker 1: process of imbibing music, how they take the music and

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Speaker 1: how they put it out and making sure this doesn't happen.

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Speaker 1: And they agreed. They and what's interesting what people there's

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Speaker 1: the thing in the music industry where the artists and

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Speaker 1: the Listener's not the question about how the asser dealt

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Speaker 1: with But there's the thing about people perceive that these

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Speaker 1: companies don't care, but they do care about it. They

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Speaker 1: really do. You know, in my experience, they have teams

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Speaker 1: and they just they want to know how to make

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Speaker 1: it better, opposed to going we don't care about it.

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Speaker 1: And that's what I found. So with Apple, they were

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Speaker 1: developing new code. They came to see me when they

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Speaker 1: did their master for I Tunes thing. And because because

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Speaker 1: the way I grew up being my dad's ears because

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Speaker 1: he went deaf, and you know, I was, I was

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Speaker 1: in students listening for a long time, and I knew

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Speaker 1: what one killer sounded like, maybe at two early in age.

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Speaker 1: And I remember saying, I met a guy who was

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Speaker 1: head of Corodo Apple and we did a listening test

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Speaker 1: down at Bob clear Mountain's place in Santa Monica and

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Speaker 1: they played me a remaster of something. I think it

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Speaker 1: was a Dawn Life or something, and I just said,

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Speaker 1: I'm hearing a weird compression at like four hundred hurts

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Speaker 1: and I'm also hearing this leveling out a nine killer hurts.

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Speaker 1: And they looked at me like I was some pretentious,

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Speaker 1: which is fair enough. And I can only say what

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Speaker 1: I'm hearing. And then this guy Bill Stuart William Stewart,

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Speaker 1: who was the head of He said to me much later,

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Speaker 1: he goes, the weird thing is we just thought you

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Speaker 1: were mad. But I said, you know, to the team,

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Speaker 1: we should and he goes, we found, we found it.

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Speaker 1: We found what you were talking about. We found And

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Speaker 1: I went, well, okay, I I don't know, Bill, but

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Speaker 1: but I mean, I can only tell you what I hear.

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Speaker 1: But the great thing about that is then they engaged.

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Speaker 1: And then they said, okay, how do we make things better?

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Speaker 1: How can we and I get seen. I mean, two

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Speaker 1: years ago someone came to see me from a company.

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Speaker 1: I said, it's completely transparent and slee enough for them.

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Speaker 1: He had an ab situation and I won't tell you

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Speaker 1: what stream of service it was. And I said, no,

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Speaker 1: that's I'm hearing. I'm hearing some number seven killer hurts.

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Speaker 1: That's not And he said, but people can't tell a difference,

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Speaker 1: and I said, no, if I walked into a room

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Speaker 1: and you played to me, I wouldn't tell a difference.

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Speaker 1: That's the thing. That's a difference. But if you're get

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Speaker 1: it right, but if you know, but now you I've

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Speaker 1: got a button. I mean I can hear what's going on,

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Speaker 1: of course, but that's not the let's get it right.

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Speaker 1: And so I find that within that world the people

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Speaker 1: want to engage and it's just making sure that getting

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Speaker 1: rid of all of the bs around it. And there's

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Speaker 1: the thing that I, you know, I get attacked for occasionally.

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Speaker 1: I have a pretty good run of stuff. But you know,

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Speaker 1: like about compressional limiting, people have been compressing limiting records

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Speaker 1: since records were recorded. The nature of recording there, that's

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Speaker 1: what happened. I mean, my dad flew over to Capitol

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Speaker 1: in LA because the Americans were so much louder than

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Speaker 1: the English and they still are socially, No, they loud.

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Speaker 1: There's so much loud than the English. And he went

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Speaker 1: to the Comely, Come fly Me sessions with Frank Snatcher.

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Speaker 1: There's my dad. No one ever knew he was there.

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Speaker 1: He was young and wet pioneers to see how they

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Speaker 1: were doing, see how the Americans could be loud, because

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Speaker 1: in those days everything was listening to on a on

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Speaker 1: a turntable, and the American records would come on the

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Speaker 1: radio and they'd be loud than the English ones, and

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Speaker 1: they wouldn't know that. E M. I want to know why. Yeah,

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Speaker 1: I'm accused of there's this whole loudness warm of debate. Course.

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Speaker 1: And I always wanted my things to sound loud because

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Speaker 1: I want them to be like the Beatles. Like the

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Speaker 1: Beatles were always louder than everybody else. But you always

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Speaker 1: made records just sounded beautiful. I mean, and always that

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Speaker 1: was my That's my goal, and they always will do it.

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Speaker 1: Like you know, people want to listen to records because

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Speaker 1: they doesn't matter what it is, they just and it's funny.

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Speaker 1: I went to get these. A guy for this team

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Speaker 1: of high fi experts came to see me. This is

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Speaker 1: down at Abbeurador while back, and they serted they had

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Speaker 1: this conversation with me and I said, you know, records

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Speaker 1: have been compressed for a long time. And I said,

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Speaker 1: I try, and I try and not make you know,

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Speaker 1: I try and have dynamics. And we talked about the

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Speaker 1: field and stuff like that in a record. I said,

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Speaker 1: but really it's really only from like nineteen seventy two

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Speaker 1: to Night's and eighty that there was this sort of

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Speaker 1: less compression. I like, you know, and I said, so, so,

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Speaker 1: if you're trying to sell me your high fis, what

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Speaker 1: would you play when they went so Sultan's or Swinging

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Speaker 1: by Dire Straits. So I was like, Okay, I think

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Speaker 1: it's nineteen seventy seven they went Ducks at the Moon

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Speaker 1: by Pink Floating, Okay, seventy four seventy three. I went, so,

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Speaker 1: your theory is that the only music worth listening to

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Speaker 1: us from this like sixty or seventy eight period of time,

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Speaker 1: and give us how crazy that is. Yeah, we have

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Speaker 1: to take a quick break and then we'll be back

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Speaker 1: with more from Rick Rubin and Giles Martin. We're back

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Speaker 1: with more from Rick Rubin and Giles Martin, who's talking

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Speaker 1: about how the streaming services built in technology affects the

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Speaker 1: sound of the Beatles catalog. Tell me about the normalization

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Speaker 1: process that they were doing. Was it a compression or

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Speaker 1: was it matching levels? It was matching levels, but it

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Speaker 1: has to be done. The problem is with all of

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Speaker 1: this is that I don't think it was done on

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Speaker 1: the input stage, so it feels the input it was.

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Speaker 1: Actually when you make something loud quieter, there's a way

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Speaker 1: to do it where you're retaining all of the information,

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Speaker 1: and there's a way to do it where you're actually

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Speaker 1: removing information, yes, removing resolution to get it quieter exactly.

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Speaker 1: So that's what was going on. So there was a

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Speaker 1: digital compression happening in order to make the track the

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Speaker 1: right level. Yeah, And there's that becomes a sound to it, yes,

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Speaker 1: And there becomes a sound that's then accepted. Yes. And

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Speaker 1: it's a very difficult thing to to negate. And it's

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Speaker 1: it's really here's here's the thing. And I can sit

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Speaker 1: in now as like as now just turned fifty three

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Speaker 1: year old man and go that's the reason why records

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Speaker 1: don't last as long. But the same point is that

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Speaker 1: you know, when Revolve was made, they didn't plan on

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Speaker 1: it lasting very long. No, that's the thing you just

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Speaker 1: go us. So there's a there's a there's a there's

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Speaker 1: a tangible sort of inner turmoil that goes on in

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Speaker 1: this in us, in us on our mountaintops judging this thing.

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Speaker 1: But the only thing I would say, and the only

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Speaker 1: thing that that I think is is really important, is

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Speaker 1: that as time goes on, technology is a wonderful thing.

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Speaker 1: That's the thing people think it is, and technology is

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Speaker 1: is you can be in a situation. You know, even

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Speaker 1: with spatial audio, even with that, you can bring someone

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Speaker 1: closer to the artist. You can you can have that directness.

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Speaker 1: You know, you and I are talking now, we're talking

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Speaker 1: good microphones and have this conversation. But it's not the

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Speaker 1: same as someone being in a room with us. And

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Speaker 1: so we or much better people than us that make

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Speaker 1: records now, you know, will be in a situation where

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Speaker 1: they can they can create something and as it should

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Speaker 1: be as close as to what they want someone to hear.

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Speaker 1: You know, with technology, with everything going on, what's happened

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Speaker 1: is it? With is sometimes we move further away from

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Speaker 1: that because of the way it's being delivered and the

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Speaker 1: way it's being done, and because of presumptions by technology

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Speaker 1: companies that that's the right thing to do. Yes, And

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Speaker 1: so you know, I get I get given keys to

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Speaker 1: things like I'm now ahead of audience staff for UMG.

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Speaker 1: So one of my roles is to look at this

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Speaker 1: stuff and go, okay, there's a universal music group for anyone,

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Speaker 1: but to go, okay, how do we how do we

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Speaker 1: create this transparency? You know, there's no agenda here, there's

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Speaker 1: no like and I'm not trying to sell more records.

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Speaker 1: I'm not My role is purely how do we create

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Speaker 1: this transfers of preservation. It's a preservation. It's also preservation

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Speaker 1: looking forward as well. It's not just a question of

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Speaker 1: me doing what I do with old records. It's like,

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Speaker 1: I'm more interesting what you know people are doing with

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Speaker 1: their records and go okay, you need to make sure,

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Speaker 1: like you know, music, music used to flow out of us, yes,

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Speaker 1: all flout of artists and and be in a stream,

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Speaker 1: and now it's in a waterfallest like there's cascading collapsing waterfalls.

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Speaker 1: Everyone's being hit by things all the time. You can't

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Speaker 1: change that. But what you can do is reassure that

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Speaker 1: people that spend hours, days and week working on something

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Speaker 1: that it can be It can go to someone who

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Speaker 1: loves your music in the best possible way. It's like

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Speaker 1: who wants who wants a cold pizza in a box? Absolutely,

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Speaker 1: And one of the things about the well meaning technical

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Speaker 1: advances what they can do is you can listen to

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Speaker 1: a piece of music and then they press a button

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Speaker 1: that would be like the equivalent of let's say a

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Speaker 1: loudness button. Everybody knows what the loudness button does, so

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Speaker 1: you press the loudness button and it seems like you

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Speaker 1: might like that better, but you might like that better

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Speaker 1: on some pieces of music and not others. And if

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Speaker 1: that loudness button was universally put on everything, where you

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Speaker 1: no longer have the button or the choice to turn

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Speaker 1: it off. It's one of the things actually with Sonos

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Speaker 1: that I recommended early on with Sonos. Sonos has it

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Speaker 1: built in loudness button and it comes on, and I

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00:18:14,196 --> 00:18:17,396
Speaker 1: suggested it should come off, and you can turn it

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Speaker 1: on if you want it on. But the first thing

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Speaker 1: I do when I connect a new Sonos speaker is

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Speaker 1: turned off the loudness but absolutely because it sounds more

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Speaker 1: like what the record sounds like. Yeah, and that's the

385
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Speaker 1: that's the thing. It's like, you know, that's designed so

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00:18:30,916 --> 00:18:34,396
Speaker 1: a loudness button in that case is designed so it

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Speaker 1: adds more base at lower levels, not high levels. It's

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Speaker 1: the same thing as I remember when having a car

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Speaker 1: which had a variable volume limit for when how fast

390
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Speaker 1: I was going. Remember the worst it makes me crazy

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Speaker 1: most cars happen. Yeah, it's like what is especially if

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Speaker 1: you're listening to mixes while you're driving and it makes

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Speaker 1: you crazy. It's just and actually I was listening to

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Speaker 1: a Shawny a Shanty mix the other days artists and

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Speaker 1: it was like and I was listening to on a

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Speaker 1: system and with it with the mix engineer, and it's

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Speaker 1: like loads of ediwate kicked drum loads the thing. And

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Speaker 1: we were checking out and I said, did you mean

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Speaker 1: to make the vocal louder here? It's very rave, and

400
00:19:09,836 --> 00:19:11,556
Speaker 1: he goes, no, it stays to stay the same. And

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Speaker 1: what happened the system was compressing. And it's the thing

402
00:19:14,956 --> 00:19:17,236
Speaker 1: about compressing. A limit to the system was compressing. So

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00:19:17,316 --> 00:19:19,716
Speaker 1: once the once the edyway and all that heavy low

404
00:19:19,836 --> 00:19:23,396
Speaker 1: sub was removed from the track. When the guy was rapping,

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Speaker 1: when there was no it meant his vocal just came up.

406
00:19:26,356 --> 00:19:29,476
Speaker 1: I was like, well, that's not right, that's not that's

407
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Speaker 1: not that's an example. So I mean I said to her,

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Speaker 1: like a senior engineer Apple, who's a good man of mine.

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Speaker 1: And this is when they released one of the released products,

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Speaker 1: and the same with Snos and all these they said

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Speaker 1: in the blurb, you know, we remix the sound. I

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Speaker 1: never say if you want the artist, never say your

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Speaker 1: product remixes the sound, just say we are you know,

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Speaker 1: I want there to be a completely flawless window and

415
00:19:53,556 --> 00:19:55,836
Speaker 1: let the sunlight shine true into our homes. That's what

416
00:19:55,956 --> 00:19:58,236
Speaker 1: I want, or open just to flow, and I don't

417
00:19:58,276 --> 00:20:00,476
Speaker 1: want I don't want anything between it. That's the thing.

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00:20:00,476 --> 00:20:02,556
Speaker 1: And there's and bizarre. You have to do a lot

419
00:20:02,556 --> 00:20:05,956
Speaker 1: of technical stuff to make that happen. That's the key.

420
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Speaker 1: But it's tasting how even certain things like vinyl. It's

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00:20:10,236 --> 00:20:12,916
Speaker 1: really funnel list in the vinyl. But I can't say

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00:20:12,916 --> 00:20:16,516
Speaker 1: that vinyl is more accurate. It's just another filter. It's

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Speaker 1: do you know what I'm saying. It's it's maybe a

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00:20:18,316 --> 00:20:21,316
Speaker 1: filter we like y. Same is true with tubes. It's

425
00:20:21,316 --> 00:20:24,716
Speaker 1: like tubes sound great, but they sound like tubes. They

426
00:20:24,756 --> 00:20:27,476
Speaker 1: don't sound like that they use it. It's like it's

427
00:20:27,516 --> 00:20:29,836
Speaker 1: the it's the thing. It's like I remember, you know,

428
00:20:30,036 --> 00:20:31,996
Speaker 1: the first Beadles out of My Realm that they asked

429
00:20:32,036 --> 00:20:34,276
Speaker 1: me a remix, and I was against remixing any Beatles album.

430
00:20:34,276 --> 00:20:36,436
Speaker 1: I've gotta be honest with you, but you know, Paul

431
00:20:36,756 --> 00:20:38,396
Speaker 1: and Ringo said, you know, we want, you know, can

432
00:20:38,436 --> 00:20:40,076
Speaker 1: you do this? And I said, we'll do. I'll do

433
00:20:40,156 --> 00:20:42,756
Speaker 1: three tracks and then we'll say we listen to them

434
00:20:42,756 --> 00:20:44,156
Speaker 1: and they liked them, and I was like, it was

435
00:20:44,196 --> 00:20:48,556
Speaker 1: Sergeant Peppers, and so I remix Sergeant Peppers and I

436
00:20:48,676 --> 00:20:50,436
Speaker 1: really spent a lot of time over the stuff. I'm

437
00:20:50,476 --> 00:20:52,516
Speaker 1: thinking about it because I'm basically penny of my start

438
00:20:52,556 --> 00:20:54,076
Speaker 1: in the Mona Leaves. So I'm doing it stuff. A

439
00:20:54,116 --> 00:20:56,676
Speaker 1: lot of people, like a a lot of people who

440
00:20:56,676 --> 00:20:58,116
Speaker 1: are better than me, would like to be doing this

441
00:20:58,276 --> 00:21:00,436
Speaker 1: job and be a lot of people love this music,

442
00:21:00,516 --> 00:21:02,036
Speaker 1: would like me to not be doing this job. So

443
00:21:02,036 --> 00:21:04,156
Speaker 1: I'm walking. I know that I'm walking this fine line

444
00:21:04,196 --> 00:21:07,316
Speaker 1: at the same time, and I'd done it, and I

445
00:21:07,436 --> 00:21:08,956
Speaker 1: looked at it and I was wanted is it too bright?

446
00:21:09,316 --> 00:21:11,396
Speaker 1: You know? Is it too loud? Is it to eventually

447
00:21:11,476 --> 00:21:14,036
Speaker 1: unhappy with it? And then we cut the vinyl and

448
00:21:14,156 --> 00:21:16,396
Speaker 1: it to me, it sounded really good. It sounded better

449
00:21:16,436 --> 00:21:18,276
Speaker 1: than what I and I found it annoyed because like

450
00:21:18,316 --> 00:21:20,076
Speaker 1: you know, you know, I like to be in control

451
00:21:20,076 --> 00:21:21,956
Speaker 1: of stuff. I wouldn't control stuff. I cut the final

452
00:21:22,116 --> 00:21:24,836
Speaker 1: even the stery imaging sounded better to me. Yeah, it

453
00:21:24,916 --> 00:21:26,676
Speaker 1: was like, what's what's going on here? Yea, I can't,

454
00:21:26,716 --> 00:21:29,316
Speaker 1: I don't know, But that's a filter. It it's a filter.

455
00:21:29,596 --> 00:21:32,956
Speaker 1: And in all these cases there there's like there's the

456
00:21:33,116 --> 00:21:35,996
Speaker 1: arguments that vinyl is closer to It's like, no, it's not,

457
00:21:36,596 --> 00:21:38,756
Speaker 1: but you may like you might like it more. It

458
00:21:38,796 --> 00:21:42,476
Speaker 1: may be it may be technically better, but it's not closer.

459
00:21:42,756 --> 00:21:45,996
Speaker 1: And there's and there's a whole generation of records you

460
00:21:46,036 --> 00:21:49,236
Speaker 1: know from what Drey was doing, which which the way

461
00:21:49,276 --> 00:21:52,036
Speaker 1: that shifted wouldn't been able to shift if it was

462
00:21:52,196 --> 00:21:56,036
Speaker 1: still on vinyl, yes, or if it was still on tape. Yeah,

463
00:21:56,076 --> 00:21:58,396
Speaker 1: because because the amount of base on the low end

464
00:21:58,436 --> 00:22:01,116
Speaker 1: wouldn't exist. Yes, they wouldn't exist. It just wouldn't. Like

465
00:22:01,156 --> 00:22:03,476
Speaker 1: you know, that's the interesting it. Maybe it's not better

466
00:22:03,556 --> 00:22:06,476
Speaker 1: or worse, it just is it's just different. Yeah, and

467
00:22:06,636 --> 00:22:09,556
Speaker 1: you use use the equipment that you have. That's things

468
00:22:09,596 --> 00:22:14,996
Speaker 1: like the excuse many people we see they feel like

469
00:22:15,036 --> 00:22:17,796
Speaker 1: they can't do it because the equipment changed. It's like

470
00:22:17,876 --> 00:22:22,196
Speaker 1: it really is the artist and the listener and whatever's

471
00:22:22,236 --> 00:22:25,676
Speaker 1: in between is not so important. You know what I'm saying.

472
00:22:25,676 --> 00:22:29,356
Speaker 1: We can, we can use our best efforts to use

473
00:22:29,756 --> 00:22:32,476
Speaker 1: what we think sounds good. But to say, well, if

474
00:22:32,476 --> 00:22:34,516
Speaker 1: I don't have a Nive console, I can't make a record,

475
00:22:34,596 --> 00:22:37,196
Speaker 1: say it's it's a ridiculous idea I had. I had.

476
00:22:37,396 --> 00:22:38,636
Speaker 1: I have a friend of mine who was a great

477
00:22:38,676 --> 00:22:41,036
Speaker 1: mixed engineer, and I was working. I was producing a

478
00:22:41,076 --> 00:22:43,716
Speaker 1: band when I was twenty three, deeply unsuccessful. I'm doing

479
00:22:43,716 --> 00:22:45,076
Speaker 1: a really bad job. So I didn't know what I

480
00:22:45,116 --> 00:22:46,676
Speaker 1: was doing. He wasn't he was. It was at Rack

481
00:22:46,756 --> 00:22:50,316
Speaker 1: Studios in London, which a great studio, old API desks

482
00:22:50,316 --> 00:22:51,516
Speaker 1: and stuff. And he was the room next door and

483
00:22:51,516 --> 00:22:53,756
Speaker 1: he's working in bands of the nineties and it sounded

484
00:22:53,796 --> 00:22:55,836
Speaker 1: great what he was doing. I'd go back into my

485
00:22:55,956 --> 00:22:58,036
Speaker 1: room and it's sud a terrible his room. And we

486
00:22:58,116 --> 00:23:01,676
Speaker 1: became friends and you know, and he actually said one

487
00:23:01,716 --> 00:23:03,116
Speaker 1: thing to Goes Once, once you learn how to make

488
00:23:03,116 --> 00:23:04,916
Speaker 1: things sound good, it gets kind of boring. So you

489
00:23:04,956 --> 00:23:07,276
Speaker 1: have to work out. You know that, you know, you know,

490
00:23:07,876 --> 00:23:10,196
Speaker 1: I try not making make bad sound. I don't think

491
00:23:10,196 --> 00:23:12,356
Speaker 1: I make bad selling records. You know, I kind of

492
00:23:12,356 --> 00:23:14,676
Speaker 1: know why. But he said to me, Goes, I don't

493
00:23:14,716 --> 00:23:16,836
Speaker 1: I mistrust anyone who walks into studios and saying I

494
00:23:16,876 --> 00:23:20,516
Speaker 1: can't work in the studios, especially nowadays. We have everything. Yeah,

495
00:23:20,636 --> 00:23:22,876
Speaker 1: we have everything, and it's like, I'll tell you what

496
00:23:22,956 --> 00:23:26,956
Speaker 1: makes great sound. It's great musicians. Yeah, that's the thing.

497
00:23:26,956 --> 00:23:29,916
Speaker 1: It's like, it's like I worked on the first Jubilee

498
00:23:29,916 --> 00:23:31,916
Speaker 1: concert back in two thousand and two which Brian May

499
00:23:31,916 --> 00:23:34,636
Speaker 1: played guitar on the roof for Bucking Palace and we

500
00:23:34,716 --> 00:23:36,596
Speaker 1: had as an artist and Stevie Winwood was one of

501
00:23:36,636 --> 00:23:37,876
Speaker 1: the artists and he wrote to me and he was

502
00:23:38,036 --> 00:23:40,116
Speaker 1: doing give Me Some Loving and was like the band

503
00:23:40,196 --> 00:23:42,516
Speaker 1: was like it was like Phil Collins and drums and

504
00:23:42,516 --> 00:23:45,996
Speaker 1: Peino Padion on bass and Ray couprom percussion and it

505
00:23:46,156 --> 00:23:47,396
Speaker 1: was one of those It was one of those great

506
00:23:47,436 --> 00:23:50,996
Speaker 1: English kind of charity events. And Steve win was one

507
00:23:51,036 --> 00:23:53,356
Speaker 1: of the nicest guys in the world. And he gave

508
00:23:53,396 --> 00:23:57,236
Speaker 1: me CDs of each part of give Me Some Loving

509
00:23:57,956 --> 00:24:00,636
Speaker 1: for the band to learn, which he'd done MIDI like

510
00:24:00,636 --> 00:24:02,396
Speaker 1: on the like DX seven or something else, and he's

511
00:24:02,396 --> 00:24:04,436
Speaker 1: seven of this demo like like Pino said to me, goes.

512
00:24:04,916 --> 00:24:06,476
Speaker 1: I think I know how the baseline from Give Us

513
00:24:06,516 --> 00:24:10,276
Speaker 1: Loving goes. It's like getting remembered and it was like

514
00:24:10,316 --> 00:24:14,116
Speaker 1: on a key like on a keyboard, but then he sang.

515
00:24:14,196 --> 00:24:18,516
Speaker 1: He sang obviously on some like answer phone on this track.

516
00:24:18,516 --> 00:24:20,636
Speaker 1: It was the weirdest thing. It was this terrible backing track,

517
00:24:20,676 --> 00:24:23,276
Speaker 1: which is a terrible MIDI backing track with Steve Winwood

518
00:24:23,276 --> 00:24:25,956
Speaker 1: singing into and it was like he could sing into

519
00:24:26,756 --> 00:24:29,436
Speaker 1: anything and he would sound amazing, like Joe Cockroll, like

520
00:24:29,476 --> 00:24:30,836
Speaker 1: this artist he was on the concert as well. But

521
00:24:30,836 --> 00:24:33,836
Speaker 1: there's these singers like the reason why people go even

522
00:24:33,916 --> 00:24:36,196
Speaker 1: with me with Beetles stock at that. You know, the

523
00:24:36,196 --> 00:24:38,716
Speaker 1: White album sounds great. It's like that's because it sounds great.

524
00:24:38,796 --> 00:24:41,076
Speaker 1: I mean, thank you, but I honestly I'm pushing faders

525
00:24:41,156 --> 00:24:44,276
Speaker 1: up and you know, and as we move on, it's

526
00:24:44,316 --> 00:24:46,636
Speaker 1: the unfair thing. You start, you go, you work with

527
00:24:46,636 --> 00:24:48,636
Speaker 1: people who aren't very good, and then you get to

528
00:24:48,636 --> 00:24:51,316
Speaker 1: work people good and you make good records. And we

529
00:24:51,396 --> 00:24:53,516
Speaker 1: get a lot of credit for stuff that's just people

530
00:24:53,636 --> 00:24:56,276
Speaker 1: sound good. That's will sound good, people sound people sound good.

531
00:24:56,276 --> 00:24:58,556
Speaker 1: And if we're in a lucky position to get to

532
00:24:58,596 --> 00:25:01,316
Speaker 1: cast the people who are playing, yep, and if we

533
00:25:01,396 --> 00:25:03,956
Speaker 1: pick the right ones, it sounds really good. Yeah, it

534
00:25:04,036 --> 00:25:07,396
Speaker 1: sounds It's like that's the more than any microphone, yeah,

535
00:25:07,516 --> 00:25:09,836
Speaker 1: or more than any compressor or you know, we have

536
00:25:09,956 --> 00:25:13,756
Speaker 1: favorites like equipment we like to use, but you have

537
00:25:13,796 --> 00:25:15,596
Speaker 1: to start off with the right ingredients. Yeah, I was

538
00:25:15,636 --> 00:25:18,596
Speaker 1: lucky to work on a session that Ringo played drums on,

539
00:25:19,156 --> 00:25:21,956
Speaker 1: and he played smaller drums than most of the drummers

540
00:25:21,956 --> 00:25:25,636
Speaker 1: that I work with, and he seemed to hit the

541
00:25:25,716 --> 00:25:30,116
Speaker 1: drums more casually than the most of the drummers I

542
00:25:30,116 --> 00:25:32,996
Speaker 1: work with, and the sound that came off the drums

543
00:25:33,676 --> 00:25:37,596
Speaker 1: filled the room in a tremendous way that was different

544
00:25:37,596 --> 00:25:41,236
Speaker 1: than everyone else. And it's just the way. It was

545
00:25:41,276 --> 00:25:43,516
Speaker 1: the nature of the way he did it. Yeah, it

546
00:25:43,596 --> 00:25:47,156
Speaker 1: was it was in his hands, YEA, in his body

547
00:25:47,436 --> 00:25:49,476
Speaker 1: is where the sound was. Yeah. I sat in a

548
00:25:49,556 --> 00:25:51,556
Speaker 1: room to a concert with Joni Mitchell once and she

549
00:25:52,236 --> 00:25:54,236
Speaker 1: just played the guitar and singing like as close we

550
00:25:54,276 --> 00:25:56,756
Speaker 1: are now. It was like I couldn't work out with

551
00:25:56,836 --> 00:25:59,796
Speaker 1: the music was coming from. Yeah, I literally couldn't work

552
00:25:59,836 --> 00:26:02,916
Speaker 1: out like it was emanating from her. And I love that.

553
00:26:02,996 --> 00:26:05,436
Speaker 1: I love the fact that we look for that secret,

554
00:26:05,716 --> 00:26:08,156
Speaker 1: you know, what's the plug in? And I love the

555
00:26:08,196 --> 00:26:10,116
Speaker 1: idea that you could take someone you could train them

556
00:26:10,116 --> 00:26:12,276
Speaker 1: to be Jonie Mitchell from the age of five, and

557
00:26:12,316 --> 00:26:14,836
Speaker 1: they would never be Joni Mitchell. Now there's a spirit

558
00:26:15,436 --> 00:26:19,236
Speaker 1: and without something pretentious. Our job is to is to

559
00:26:19,356 --> 00:26:22,676
Speaker 1: capture that spirit and pass it it's possible, and to

560
00:26:22,836 --> 00:26:26,076
Speaker 1: not get in the way up really well, this is

561
00:26:26,116 --> 00:26:27,916
Speaker 1: the thing. I mean, even like with the legacy stuff

562
00:26:27,956 --> 00:26:29,316
Speaker 1: I do with the Beetles, I get to walk in

563
00:26:29,356 --> 00:26:30,716
Speaker 1: to Eduar and I get to put the tapest off

564
00:26:30,876 --> 00:26:32,996
Speaker 1: in the same way you did with Paul and listening stuff,

565
00:26:32,996 --> 00:26:35,756
Speaker 1: and you go, wow, how lucky am I? This is

566
00:26:35,796 --> 00:26:38,396
Speaker 1: really touching me. You know, how can I take stuff

567
00:26:38,436 --> 00:26:39,716
Speaker 1: off this so people can hear it? You know, I

568
00:26:39,756 --> 00:26:42,436
Speaker 1: mean opposed to how can I get my sound up?

569
00:26:42,516 --> 00:26:45,316
Speaker 1: You know that has nothing to do with that. You're

570
00:26:45,396 --> 00:26:48,556
Speaker 1: just yeah, you're just basically you know, you're just passing

571
00:26:48,596 --> 00:26:50,476
Speaker 1: things down. And it's the same when we're gonna come

572
00:26:50,516 --> 00:26:52,996
Speaker 1: to the streaming thing. The next stage is the streaming thing.

573
00:26:53,116 --> 00:26:55,196
Speaker 1: How can that be passed to someone? So here you are,

574
00:26:55,796 --> 00:26:57,676
Speaker 1: here's here's not a cold pizza in the box. Here

575
00:26:57,796 --> 00:27:00,876
Speaker 1: is a delicious thing for you to enjoy. Yes, let's

576
00:27:00,876 --> 00:27:03,556
Speaker 1: talk about the White album A little bit. Be White

577
00:27:03,596 --> 00:27:05,596
Speaker 1: album that you did was two years ago? Yeah, I

578
00:27:05,596 --> 00:27:07,796
Speaker 1: think so, well, I yeah, and I did so. I

579
00:27:07,836 --> 00:27:11,516
Speaker 1: did the whole pit adjective big Deluxe, Big two years ago,

580
00:27:12,156 --> 00:27:13,516
Speaker 1: like it was about because I've been wanting to talk

581
00:27:13,556 --> 00:27:17,516
Speaker 1: to you since then because that it really blew my mind.

582
00:27:18,796 --> 00:27:22,236
Speaker 1: White Album might well be my favorite of all albums. Yeah,

583
00:27:22,876 --> 00:27:28,636
Speaker 1: and when I listened to the new mix of it,

584
00:27:28,636 --> 00:27:31,636
Speaker 1: it didn't feel like a remix. No, but it shouldn't.

585
00:27:31,716 --> 00:27:35,076
Speaker 1: It didn't. It felt like I was hearing this album

586
00:27:35,076 --> 00:27:37,316
Speaker 1: that I've been listening to my whole life all the time,

587
00:27:37,876 --> 00:27:40,236
Speaker 1: that I was hearing it for the first time. And

588
00:27:40,396 --> 00:27:44,716
Speaker 1: that was a remarkable experience, like I'd never actually heard

589
00:27:44,756 --> 00:27:48,676
Speaker 1: it all before. Was like a blanket was taken off

590
00:27:48,716 --> 00:27:53,876
Speaker 1: the speakers and I could actually hear the clarity of

591
00:27:53,876 --> 00:27:57,596
Speaker 1: what was happening, and it was an amazing experience. So

592
00:27:57,836 --> 00:28:03,836
Speaker 1: tell me technologically, what happened to allow that to happen. Yeah,

593
00:28:03,836 --> 00:28:05,916
Speaker 1: it's a good question. The answer. The answer is, well,

594
00:28:05,956 --> 00:28:08,756
Speaker 1: a number of things, but there's no there's no real

595
00:28:09,676 --> 00:28:13,716
Speaker 1: one thing to pay. And it's certainly it's certainly not

596
00:28:13,756 --> 00:28:16,756
Speaker 1: anything to do with cleansing or cleaning, because I didn't

597
00:28:16,796 --> 00:28:19,516
Speaker 1: believe in that. Like, even when the White Album is

598
00:28:19,516 --> 00:28:22,236
Speaker 1: predominantly eight tracks, there's a couple of four tracks, and

599
00:28:22,716 --> 00:28:25,476
Speaker 1: I let the bleed from the other tracks come through

600
00:28:25,556 --> 00:28:31,076
Speaker 1: because otherwise it becomes you know, sterile. Yes, But the

601
00:28:31,116 --> 00:28:34,236
Speaker 1: White Album, like all Bele's album, was made for vinyl,

602
00:28:34,836 --> 00:28:38,636
Speaker 1: and it was made in different rooms and at a

603
00:28:38,716 --> 00:28:42,156
Speaker 1: fractious time, so people, it's quite It was mixed out

604
00:28:42,196 --> 00:28:45,596
Speaker 1: of anger and mixed by Ken Scott and Chris Thomas,

605
00:28:45,596 --> 00:28:47,876
Speaker 1: who are both brilliant. I mean, like Ken Scott went

606
00:28:47,916 --> 00:28:50,356
Speaker 1: on to do Hunky Dory and Transformed by Lou Reed,

607
00:28:50,396 --> 00:28:52,676
Speaker 1: amongst other things, and Chris Thomas is one of the

608
00:28:53,036 --> 00:28:55,756
Speaker 1: one of the greatest producers. But it was done in

609
00:28:55,756 --> 00:28:59,356
Speaker 1: a fractious time. You know, I think George Harrison or

610
00:28:59,396 --> 00:29:01,596
Speaker 1: George Martin. My dad told the story when they were

611
00:29:01,636 --> 00:29:06,916
Speaker 1: doing Savoy Tucky Truffle. My dad walked into Studio three

612
00:29:07,276 --> 00:29:10,036
Speaker 1: in Iberia, I think they're in. Ken Scott was mixing

613
00:29:10,036 --> 00:29:13,236
Speaker 1: it and goes, it sounds a bit bright, George, and

614
00:29:13,396 --> 00:29:15,236
Speaker 1: he went, yeah, I know, and I like it, like,

615
00:29:15,316 --> 00:29:17,036
Speaker 1: you know, get out of here, that kind of thing.

616
00:29:17,356 --> 00:29:19,116
Speaker 1: And so it was made at a time where it

617
00:29:19,156 --> 00:29:22,436
Speaker 1: was like the fractiousness is on the mix, if that

618
00:29:22,476 --> 00:29:25,796
Speaker 1: makes sense. So therefore maybe and it's I have to

619
00:29:25,836 --> 00:29:28,036
Speaker 1: walk a tight up here because I'm dealing with you know,

620
00:29:28,836 --> 00:29:35,156
Speaker 1: a something people chitthol deer. Sometimes the translation of what

621
00:29:35,276 --> 00:29:38,276
Speaker 1: was intended on the White album, like the aggression or

622
00:29:38,356 --> 00:29:40,956
Speaker 1: not the aggression is leveled out a bit like we're

623
00:29:40,996 --> 00:29:43,636
Speaker 1: talking about what streaming services do is it's it's come

624
00:29:43,716 --> 00:29:47,116
Speaker 1: down sometimes to compress, sometimes too bright, sometimes whatever. So

625
00:29:47,716 --> 00:29:50,596
Speaker 1: I'm having to mix this material, but I'm trying to

626
00:29:50,676 --> 00:29:53,836
Speaker 1: mix it bearing in mind what they want, because don't forget,

627
00:29:53,836 --> 00:29:56,516
Speaker 1: I am not Ringo and paust Live and Livy Harrison

628
00:29:56,556 --> 00:29:59,836
Speaker 1: and Danny Harrison, Sean Nannon and Yoko, So I am

629
00:29:59,956 --> 00:30:03,116
Speaker 1: working for them, playing at him. But my intent is to, Okay,

630
00:30:04,036 --> 00:30:06,956
Speaker 1: how do I do as little as possible and get

631
00:30:06,996 --> 00:30:08,276
Speaker 1: you to be in the room of the band, because

632
00:30:08,316 --> 00:30:10,876
Speaker 1: one thing about the be the Beatles records, and I've

633
00:30:10,916 --> 00:30:12,996
Speaker 1: worked on lots of other I've done, you know, I

634
00:30:13,036 --> 00:30:15,236
Speaker 1: think I've mixed Rolling Stones, I've done Beach Boys, now

635
00:30:15,276 --> 00:30:20,476
Speaker 1: I've done There's there's certain artists you a bit like

636
00:30:20,636 --> 00:30:24,596
Speaker 1: an autopsy. You open up the body and you find

637
00:30:24,636 --> 00:30:26,036
Speaker 1: out it's not in great working You order you need

638
00:30:26,076 --> 00:30:27,036
Speaker 1: to sew it up and put it back to go

639
00:30:27,156 --> 00:30:29,836
Speaker 1: as quickly as possible. The Beatles aren't one of those artists.

640
00:30:30,116 --> 00:30:31,916
Speaker 1: You open it up and you rise there's beauty that

641
00:30:32,036 --> 00:30:35,276
Speaker 1: lies within. There's performance that you haven't quite heard yet.

642
00:30:36,036 --> 00:30:38,196
Speaker 1: And that's what I try and focus on. You try

643
00:30:38,196 --> 00:30:40,516
Speaker 1: and figure first. It's so the answer is not a

644
00:30:40,556 --> 00:30:43,276
Speaker 1: technical it's not it's an emotional one. It's like, wow,

645
00:30:43,316 --> 00:30:45,996
Speaker 1: I didn't realize that this was them live in the room.

646
00:30:46,036 --> 00:30:47,756
Speaker 1: So how do I make it feel like like the

647
00:30:47,836 --> 00:30:50,476
Speaker 1: wonderful work you've done? Like where the great thing about

648
00:30:50,476 --> 00:30:53,276
Speaker 1: what you've done is you've you celebrate the musician in

649
00:30:53,436 --> 00:30:55,636
Speaker 1: all of your work. In all of your work, you

650
00:30:55,716 --> 00:30:59,756
Speaker 1: celebrate the musician. And I've learned from you from doing that.

651
00:30:59,876 --> 00:31:01,476
Speaker 1: You know, I learn from you people from watching like

652
00:31:01,956 --> 00:31:04,796
Speaker 1: the Chili Peppers documentarip was made way back then with

653
00:31:04,996 --> 00:31:06,836
Speaker 1: you know, blood, sugar, sex, magic, that thing in the

654
00:31:07,036 --> 00:31:09,756
Speaker 1: in the house, Well, we all want to be be.

655
00:31:09,956 --> 00:31:12,236
Speaker 1: You will be produced by you Rick. You know that's

656
00:31:12,276 --> 00:31:14,836
Speaker 1: the thing. And it's the same thing. So I walk

657
00:31:14,876 --> 00:31:17,356
Speaker 1: into you know, forget the facts on my father's son.

658
00:31:17,996 --> 00:31:19,916
Speaker 1: I want to be on those sessions because I'm a

659
00:31:20,036 --> 00:31:22,036
Speaker 1: musician and I'm produced. That's what you know. It doesn't

660
00:31:22,156 --> 00:31:24,316
Speaker 1: my dad has nothing to do this, but he does know.

661
00:31:24,396 --> 00:31:27,156
Speaker 1: He's a spirit that I that that's with me, So

662
00:31:27,316 --> 00:31:30,356
Speaker 1: I just go, Okay, Rick, you can't be with me

663
00:31:30,436 --> 00:31:31,876
Speaker 1: listening to stuff, So how can I get you close

664
00:31:31,916 --> 00:31:34,196
Speaker 1: to that? So? How do I mix this? So it's

665
00:31:34,236 --> 00:31:37,036
Speaker 1: like you haven't heard it before. You have heard it before,

666
00:31:37,516 --> 00:31:40,276
Speaker 1: and I'm really careful to ab the old news, so

667
00:31:40,356 --> 00:31:42,636
Speaker 1: it's not you know, I remember listening. I really respect

668
00:31:42,676 --> 00:31:44,476
Speaker 1: Bob Claymounts and he's a genius, but I remember he

669
00:31:44,596 --> 00:31:46,276
Speaker 1: mixed all right now by Free and I was into

670
00:31:46,356 --> 00:31:49,436
Speaker 1: humble Pie Guitar Player and they were like the cow

671
00:31:49,476 --> 00:31:51,196
Speaker 1: babbles loud on the snare d I'm selling different. I

672
00:31:51,276 --> 00:31:52,676
Speaker 1: was like, no, that's not what I want. I want

673
00:31:53,156 --> 00:31:55,716
Speaker 1: you want. You want it to be what it is exactly,

674
00:31:56,076 --> 00:31:58,676
Speaker 1: but what it is where you haven't heard it and

675
00:31:58,756 --> 00:32:01,556
Speaker 1: there's a weird and that's why I don't understand, so

676
00:32:01,556 --> 00:32:03,516
Speaker 1: why I'm asking it. Like it's not like the levels

677
00:32:03,556 --> 00:32:07,036
Speaker 1: are different, it's not like the sounds are different, but

678
00:32:07,236 --> 00:32:09,436
Speaker 1: you can hear it in a way you couldn't. But

679
00:32:09,756 --> 00:32:12,076
Speaker 1: it's kind of like it's kind of like in that mode,

680
00:32:13,116 --> 00:32:16,876
Speaker 1: I'm kind of remastering in a really complicated way. You know.

681
00:32:16,956 --> 00:32:19,716
Speaker 1: That's what I'm doing, are remastering individual tracks and putting

682
00:32:19,756 --> 00:32:21,676
Speaker 1: it back together again. It's like there's and there's a

683
00:32:21,716 --> 00:32:24,436
Speaker 1: weird psychosomatic thing that goes on here, like so I've

684
00:32:24,476 --> 00:32:26,716
Speaker 1: just you know, just done Revolver and the Responsible Revolve

685
00:32:26,756 --> 00:32:28,836
Speaker 1: has been like the White album has been. But there's

686
00:32:28,876 --> 00:32:31,716
Speaker 1: like a finger snap in here, there and everywhere, and

687
00:32:31,836 --> 00:32:34,236
Speaker 1: I hadn't. I don't remember the fingers snapping here, there

688
00:32:34,276 --> 00:32:36,076
Speaker 1: and everywhere, not like listen to the Beatles. I don't

689
00:32:36,076 --> 00:32:38,996
Speaker 1: listen to Beatles almost spare time. But it's like and

690
00:32:39,156 --> 00:32:42,236
Speaker 1: I think, well, I put it there and then and

691
00:32:42,316 --> 00:32:44,076
Speaker 1: I go, okay, maybe it should be here and come

692
00:32:44,116 --> 00:32:46,476
Speaker 1: and and then you listening to originally go oh, though

693
00:32:46,556 --> 00:32:49,316
Speaker 1: there it is. There's a weird psychosomat I think. People go,

694
00:32:49,596 --> 00:32:53,876
Speaker 1: you make Ringo's drums louder. I don't really, but for

695
00:32:53,996 --> 00:32:55,756
Speaker 1: some reason, there's the impact. And I think what it

696
00:32:55,916 --> 00:32:58,556
Speaker 1: is is is the limiting and compression I do is

697
00:32:58,636 --> 00:33:00,836
Speaker 1: slightly different from what they did then because I had

698
00:33:00,956 --> 00:33:03,316
Speaker 1: more time, and let's face that, I also have what

699
00:33:03,436 --> 00:33:05,956
Speaker 1: they did before to ab and and I learned really

700
00:33:06,516 --> 00:33:09,636
Speaker 1: so my first Beatles experience was the Love Projects, and

701
00:33:09,756 --> 00:33:13,196
Speaker 1: that was basically added desperation. So I was working on records,

702
00:33:13,236 --> 00:33:15,236
Speaker 1: I think successfully, but things I didn't want to do.

703
00:33:15,876 --> 00:33:17,956
Speaker 1: And I said, listen, I reckon. I can create a

704
00:33:17,996 --> 00:33:19,996
Speaker 1: show that never happened just by chopping up the tapes.

705
00:33:20,036 --> 00:33:21,436
Speaker 1: And they went, okay, you've got three months. We're not

706
00:33:21,476 --> 00:33:23,636
Speaker 1: going to pay you. And I went to the album

707
00:33:24,156 --> 00:33:26,076
Speaker 1: and I remixed on in the Wars, and I was like,

708
00:33:26,716 --> 00:33:29,236
Speaker 1: oh my god, I'm a genius. This is great, and

709
00:33:29,356 --> 00:33:31,636
Speaker 1: just out of interest, I listened to the original and

710
00:33:31,756 --> 00:33:34,516
Speaker 1: it sounded so much worse, but was so much better

711
00:33:34,596 --> 00:33:36,756
Speaker 1: than my record than my mix. It was so much better.

712
00:33:36,836 --> 00:33:40,396
Speaker 1: It's like claustrophobic and dark and distorted and mono and stereo,

713
00:33:40,396 --> 00:33:43,436
Speaker 1: and it's like, no, what I've done is boring, and

714
00:33:43,556 --> 00:33:47,476
Speaker 1: it's preserving that. It's like things don't have to sound great,

715
00:33:47,516 --> 00:33:50,916
Speaker 1: they just have to sound right. Yeah, maintaining the spirit

716
00:33:51,076 --> 00:33:54,516
Speaker 1: of what it originally was it's really important because then

717
00:33:54,556 --> 00:33:59,036
Speaker 1: it's like the amazing thing about the Beetles and the

718
00:33:59,116 --> 00:34:01,556
Speaker 1: people that worked on the Beatles. No, these great engineers

719
00:34:02,076 --> 00:34:04,596
Speaker 1: and my dad is they did things really quickly, but

720
00:34:04,676 --> 00:34:08,476
Speaker 1: they did things so right. That's the thing. Yeah, it's funny.

721
00:34:08,516 --> 00:34:11,156
Speaker 1: I saw Paul about Revolver and I was playing him

722
00:34:11,836 --> 00:34:15,436
Speaker 1: tax Man and he goes into the guitars. Your guitar

723
00:34:15,636 --> 00:34:18,316
Speaker 1: is just the casar solo which he played, I think

724
00:34:18,396 --> 00:34:20,996
Speaker 1: is you know, it could be more aggressive, and it's

725
00:34:20,996 --> 00:34:23,876
Speaker 1: like it's really aggressive in the original. I was like, okay,

726
00:34:24,196 --> 00:34:26,556
Speaker 1: he goes, he goes. I know it's too loud and

727
00:34:26,596 --> 00:34:28,596
Speaker 1: the original, but it should be too loud. Yeah, and

728
00:34:28,716 --> 00:34:31,556
Speaker 1: that seems like fresh by Sign of the Family Stone

729
00:34:32,236 --> 00:34:34,756
Speaker 1: is a terrible sounding record, but a great sounding record.

730
00:34:34,836 --> 00:34:36,556
Speaker 1: It's a great sounding reccause it's mixed in the way

731
00:34:36,596 --> 00:34:39,396
Speaker 1: it's mixed. It's like and I speak to make sense

732
00:34:39,556 --> 00:34:41,316
Speaker 1: like Tom Elmhurst and all these people WI go and

733
00:34:41,556 --> 00:34:43,356
Speaker 1: I don't believe in what you do. And I really

734
00:34:43,396 --> 00:34:45,276
Speaker 1: respect what they say, and it's absolutely right. I mean,

735
00:34:45,276 --> 00:34:47,396
Speaker 1: they don't listen to what I do. But you don't understand.

736
00:34:47,476 --> 00:34:50,196
Speaker 1: I'm not trying to. I'm not trying to correct a

737
00:34:50,396 --> 00:34:52,636
Speaker 1: mistake or something like that. I'm trying to. And the

738
00:34:53,156 --> 00:34:56,276
Speaker 1: one thing is that regardless of what you're I think

739
00:34:56,436 --> 00:34:58,516
Speaker 1: it gets people talking about stuff, and then gets people

740
00:34:58,516 --> 00:35:01,716
Speaker 1: to listen to stuff, and gets generations going having arguments

741
00:35:01,756 --> 00:35:04,236
Speaker 1: about it, and then then they engage. They don't they

742
00:35:04,316 --> 00:35:07,916
Speaker 1: don't just hear it, they listen to it. Yes, we

743
00:35:07,996 --> 00:35:09,756
Speaker 1: have to take a quick break and then we'll be

744
00:35:09,836 --> 00:35:17,196
Speaker 1: back with more from Rick Rubin and Giles Martin. We're

745
00:35:17,276 --> 00:35:20,996
Speaker 1: back with Rick Rubin and Giles Martin. I understand that

746
00:35:21,116 --> 00:35:25,196
Speaker 1: for the Revolver there's a new technology available that hasn't

747
00:35:25,236 --> 00:35:29,236
Speaker 1: been available before that allowed this to happen. Is that correct? Yeah? Correct,

748
00:35:29,556 --> 00:35:32,796
Speaker 1: tell me about that. So the pandemic hit, as we

749
00:35:32,876 --> 00:35:35,956
Speaker 1: all know, and I was in the middle of working

750
00:35:36,036 --> 00:35:38,316
Speaker 1: on the Get Back Project with Peter Jackson. We started

751
00:35:38,356 --> 00:35:40,636
Speaker 1: working on that before the pattern and it was meant

752
00:35:40,636 --> 00:35:41,876
Speaker 1: to be a two hour film and it became a

753
00:35:41,956 --> 00:35:44,996
Speaker 1: seven hour, forty minute extravagant Peter Peter, who I love,

754
00:35:45,076 --> 00:35:48,196
Speaker 1: and he's become like a really good, you know, a

755
00:35:48,316 --> 00:35:51,596
Speaker 1: good friend. He loves a trilogy. You know, he can't

756
00:35:51,596 --> 00:35:55,116
Speaker 1: avoid he kind avoid a trilogy in But it gave

757
00:35:55,196 --> 00:35:57,356
Speaker 1: us time to you know, like a bit like wartime.

758
00:35:57,396 --> 00:36:00,516
Speaker 1: It gave us time to look at technology. And the

759
00:36:00,676 --> 00:36:03,716
Speaker 1: Get Back Project was record on Nagra tape, which is

760
00:36:03,756 --> 00:36:07,236
Speaker 1: this quarter inch at least little brown reelser tape and

761
00:36:07,436 --> 00:36:08,996
Speaker 1: not sunk to picture. We have to sink of him

762
00:36:08,996 --> 00:36:11,836
Speaker 1: the picture and this tape had Paul and John talking

763
00:36:11,876 --> 00:36:14,116
Speaker 1: with George Pan, a guitar or, and he has a

764
00:36:14,196 --> 00:36:16,716
Speaker 1: dialogue at It's called Emil de la Rey's name is

765
00:36:16,756 --> 00:36:21,036
Speaker 1: which a great name, who had looked into AI using

766
00:36:21,116 --> 00:36:23,956
Speaker 1: actually American Police Force for search about how you can

767
00:36:24,356 --> 00:36:29,476
Speaker 1: remove transience or things from different recordings. So he started

768
00:36:29,516 --> 00:36:33,476
Speaker 1: taking the guitar off Paul's voice or John's voice or ringer,

769
00:36:33,516 --> 00:36:36,236
Speaker 1: and it started separated these elements so they can make

770
00:36:36,276 --> 00:36:37,996
Speaker 1: the film. And the film became what it is and

771
00:36:38,076 --> 00:36:40,996
Speaker 1: it's you know, it's been really well received and join us.

772
00:36:40,996 --> 00:36:43,196
Speaker 1: But at the end of the last student's process, you know,

773
00:36:43,356 --> 00:36:45,276
Speaker 1: I was mixing the film. I was mixing the music

774
00:36:45,316 --> 00:36:47,196
Speaker 1: for the film, and I said he had these elements.

775
00:36:48,316 --> 00:36:50,996
Speaker 1: I said to him, and I said, okay, maybe we

776
00:36:51,036 --> 00:36:52,876
Speaker 1: should have a look at Revolver. And he goes, what

777
00:36:52,876 --> 00:36:54,196
Speaker 1: do you mean. I said, well, if I send you

778
00:36:54,876 --> 00:36:56,876
Speaker 1: track one from tax Man, which the guitar based and

779
00:36:56,956 --> 00:36:59,436
Speaker 1: drums together, can you separate them. He goes, yeah, I

780
00:36:59,476 --> 00:37:02,516
Speaker 1: think so, And I went really want yeah, And I said, well,

781
00:37:02,596 --> 00:37:03,916
Speaker 1: you know you'd look at it. I'll tell you what

782
00:37:04,076 --> 00:37:06,396
Speaker 1: transience I'm missing, what things I'm missing. He did the

783
00:37:06,436 --> 00:37:08,956
Speaker 1: first pass and it's pretty amazing. I said, there's a

784
00:37:09,196 --> 00:37:12,116
Speaker 1: for things. The guitar hits I'm not. And we started

785
00:37:12,156 --> 00:37:15,876
Speaker 1: collaborating on this process and it got to the stage

786
00:37:15,916 --> 00:37:17,636
Speaker 1: where I kid you not and I'm happy to play.

787
00:37:17,796 --> 00:37:20,716
Speaker 1: You know, they had the drums guitar bassed text message

788
00:37:20,716 --> 00:37:24,036
Speaker 1: because guitars with the snare drum, I could have drums

789
00:37:24,076 --> 00:37:26,436
Speaker 1: on their own where I can hear the squeak of ringos,

790
00:37:26,636 --> 00:37:30,476
Speaker 1: kick drum, pedal, the bass separate, guitar separate, and all

791
00:37:30,476 --> 00:37:33,156
Speaker 1: the transience there. So then then then he could separate

792
00:37:33,196 --> 00:37:35,396
Speaker 1: the kick drum and snare drum, and the snare drum

793
00:37:35,516 --> 00:37:37,956
Speaker 1: hits like kids you not, Rick, It's like a snare drum,

794
00:37:38,036 --> 00:37:40,796
Speaker 1: a sample snare drum, It has the tail, has everything.

795
00:37:41,036 --> 00:37:43,556
Speaker 1: And I don't know how I can claim credit for it,

796
00:37:43,876 --> 00:37:46,356
Speaker 1: no idea. How it happens. It's AI and machine learning,

797
00:37:46,396 --> 00:37:48,916
Speaker 1: and what apparently what does is the computer will recognize

798
00:37:48,956 --> 00:37:51,516
Speaker 1: what the sound is. But really important to me is

799
00:37:51,596 --> 00:37:54,716
Speaker 1: that I can then put all these others together and

800
00:37:54,876 --> 00:37:58,236
Speaker 1: play the original tape and sync them up and reverse

801
00:37:58,316 --> 00:38:00,316
Speaker 1: the phase and it completely do you hear nothing, So

802
00:38:00,396 --> 00:38:04,276
Speaker 1: there's no artifacts, there's no distortion. I mean, like listen

803
00:38:04,276 --> 00:38:05,756
Speaker 1: as an idea of what that is. So if I

804
00:38:06,076 --> 00:38:07,996
Speaker 1: reverse the phase on something, it means that's the same thing.

805
00:38:08,156 --> 00:38:10,036
Speaker 1: If I add a little bit of each to one,

806
00:38:10,076 --> 00:38:13,196
Speaker 1: you start hearing it. You start hearing something because it changes,

807
00:38:13,396 --> 00:38:16,196
Speaker 1: there's no changes happening, and it means it opens up

808
00:38:16,196 --> 00:38:19,356
Speaker 1: the door. What's interesting is it opens up the door

809
00:38:19,476 --> 00:38:23,556
Speaker 1: to a whole load of magical recordings that are out there.

810
00:38:23,876 --> 00:38:25,876
Speaker 1: Not that they should be destroyed in any way, but

811
00:38:26,036 --> 00:38:30,716
Speaker 1: just so new generation here, different things or great singers

812
00:38:30,796 --> 00:38:34,316
Speaker 1: that haven't been heard can be heard, or even like

813
00:38:34,516 --> 00:38:36,556
Speaker 1: people can be sampled and used for stuff. You know,

814
00:38:36,916 --> 00:38:43,156
Speaker 1: it does open that. So you're basically taking a finished records,

815
00:38:43,436 --> 00:38:47,796
Speaker 1: let's say it's in stereo, taking that stereo and with

816
00:38:48,076 --> 00:38:53,476
Speaker 1: no back material, turning it back into the components correct

817
00:38:53,556 --> 00:38:56,676
Speaker 1: that it was made from. Correct, and then you have

818
00:38:57,596 --> 00:39:00,916
Speaker 1: those individual components that you can put back together in

819
00:39:01,116 --> 00:39:02,996
Speaker 1: either the same way or in a different way. Yeah,

820
00:39:02,996 --> 00:39:04,716
Speaker 1: it's like it's like being given a cake and then

821
00:39:04,756 --> 00:39:08,116
Speaker 1: suddenly you know, you're handing me about flour, eggs, milk, sugar,

822
00:39:08,356 --> 00:39:11,516
Speaker 1: you know whatever in the cake. Yeah, but they're pure. Yes,

823
00:39:11,756 --> 00:39:13,956
Speaker 1: that's the difference. A lot of people have done this before.

824
00:39:13,956 --> 00:39:16,356
Speaker 1: And I did a film with Ron Howard, this Beatles

825
00:39:16,356 --> 00:39:19,076
Speaker 1: film Eight Days a Week, where I had to take

826
00:39:19,156 --> 00:39:21,276
Speaker 1: screams off. Great movie, but it was it was a

827
00:39:21,316 --> 00:39:23,516
Speaker 1: great thank you, It was great. But to get the sound,

828
00:39:23,716 --> 00:39:25,516
Speaker 1: to get any form of sound, because this is like

829
00:39:25,596 --> 00:39:28,756
Speaker 1: the Washington concert is it sounds awful? I mean it

830
00:39:28,876 --> 00:39:30,756
Speaker 1: sounds it's to get you know. I had to do

831
00:39:30,876 --> 00:39:33,316
Speaker 1: some d mixing and just so you could hear the band,

832
00:39:33,916 --> 00:39:35,956
Speaker 1: but it was still really really mentioned. It didn't sound

833
00:39:36,036 --> 00:39:37,236
Speaker 1: very good and it was like I to really put

834
00:39:37,276 --> 00:39:40,236
Speaker 1: it back together again with this. We're going to the

835
00:39:40,316 --> 00:39:44,556
Speaker 1: stage now where the drums from s she said? You know,

836
00:39:45,076 --> 00:39:47,716
Speaker 1: you know the band have never heard the drums from

837
00:39:47,756 --> 00:39:50,316
Speaker 1: she said, because they were guitar and bass. But it's like,

838
00:39:50,476 --> 00:39:52,956
Speaker 1: you know, if I played you the drums from she said,

839
00:39:53,036 --> 00:39:56,676
Speaker 1: which had been in the studio right now, you go, hey, Jiles,

840
00:39:56,716 --> 00:39:59,916
Speaker 1: that's a great sounding drum sound. Yeah, it's kind of cool. Yeah,

841
00:40:00,076 --> 00:40:02,556
Speaker 1: you know, it's something like Revolver. You know, we're used

842
00:40:02,556 --> 00:40:05,036
Speaker 1: to thet the Stereobis Revolved. Wasn't actually the sterming if

843
00:40:05,076 --> 00:40:07,236
Speaker 1: the Stereomus Revolved was done in the eighties by my

844
00:40:07,396 --> 00:40:11,076
Speaker 1: dad at air studios in at you know that people felt,

845
00:40:11,356 --> 00:40:13,476
Speaker 1: how can you destroy history? Let's not actually even history

846
00:40:14,156 --> 00:40:16,676
Speaker 1: was done? Letskan reverbs and stuff like that. So the

847
00:40:16,756 --> 00:40:20,676
Speaker 1: original it was it was Mono. Yeah, Mino was the version. Well,

848
00:40:20,716 --> 00:40:23,236
Speaker 1: Mona was the version, because all of them, because even

849
00:40:23,316 --> 00:40:26,356
Speaker 1: to the end, Mano was still the main version, absolutely,

850
00:40:26,396 --> 00:40:29,276
Speaker 1: because people didn't have stereos. Yes, you know, Mono and

851
00:40:29,436 --> 00:40:31,916
Speaker 1: Vinyl the version, I think, and I think that's right.

852
00:40:31,956 --> 00:40:34,676
Speaker 1: I think if you the stereo was almost like an afterthought.

853
00:40:34,756 --> 00:40:39,596
Speaker 1: The stereo version of the of the recordings were let's

854
00:40:39,676 --> 00:40:42,996
Speaker 1: just say less, had less focus. Yeah, and and like

855
00:40:43,236 --> 00:40:47,196
Speaker 1: no one's listen to the stereo because radio wasn't stereo. Yes,

856
00:40:47,556 --> 00:40:49,676
Speaker 1: you know, we're in this world now where we have

857
00:40:49,876 --> 00:40:51,796
Speaker 1: all the music in the world and boxes in our

858
00:40:51,796 --> 00:40:54,196
Speaker 1: pockets and we have everything everywhere. But you know, if

859
00:40:54,196 --> 00:40:55,996
Speaker 1: you want to access anything, you'll listening to something at home.

860
00:40:56,036 --> 00:40:58,836
Speaker 1: You're listening to a mono who wouldn't have heard stereo.

861
00:40:59,196 --> 00:41:02,516
Speaker 1: And that's why, you know, interesting or non interesting. Early

862
00:41:02,596 --> 00:41:05,116
Speaker 1: sterio was just crazy. I mean, got good fun, but

863
00:41:05,156 --> 00:41:08,236
Speaker 1: it's kind of crazy, you know. And actually in America

864
00:41:08,316 --> 00:41:09,956
Speaker 1: sterio is much bigger I think that was in England.

865
00:41:10,036 --> 00:41:13,476
Speaker 1: So the early Beatles albums that people know where all

866
00:41:13,556 --> 00:41:15,556
Speaker 1: of the bands on one side, all of folks on

867
00:41:15,556 --> 00:41:18,516
Speaker 1: the other side, people go, that's great. My dad was

868
00:41:18,636 --> 00:41:21,316
Speaker 1: so angry about that when it happened, you know, because

869
00:41:21,396 --> 00:41:24,556
Speaker 1: Capital took the records and did this because they wanted

870
00:41:24,596 --> 00:41:26,636
Speaker 1: stereos because that was the new thing. It's like the

871
00:41:27,556 --> 00:41:29,316
Speaker 1: But they didn't do it in a musical way. They

872
00:41:29,396 --> 00:41:31,756
Speaker 1: just did it. They just did it in the technical way,

873
00:41:31,836 --> 00:41:33,836
Speaker 1: exactly right. I've heard rumors, I don't know if this

874
00:41:33,956 --> 00:41:36,516
Speaker 1: is true that the reason that the things were separated

875
00:41:36,556 --> 00:41:41,076
Speaker 1: the way they were was if you played one of

876
00:41:41,196 --> 00:41:46,716
Speaker 1: those funny odd stereo through amano system, it sounded better.

877
00:41:47,476 --> 00:41:49,636
Speaker 1: I don't know if that's true really, that that was

878
00:41:49,716 --> 00:41:52,916
Speaker 1: the theory of why Capital did it was because that's

879
00:41:52,956 --> 00:41:55,236
Speaker 1: what sounded better on the radio. I don't know if

880
00:41:55,276 --> 00:41:57,916
Speaker 1: that's true. I wonder if that's a response. It's a

881
00:41:58,036 --> 00:42:02,556
Speaker 1: response into into the English saying what have you done this? Yeah?

882
00:42:02,636 --> 00:42:04,956
Speaker 1: Maybe they went well because maybe if we play this

883
00:42:05,196 --> 00:42:07,796
Speaker 1: could be an excuse but be fun to do the tests. Yeah,

884
00:42:07,796 --> 00:42:10,196
Speaker 1: I would actually see what yes that thing about? Like

885
00:42:10,316 --> 00:42:12,796
Speaker 1: you know, when you take a Mono. It's this thing.

886
00:42:12,836 --> 00:42:14,996
Speaker 1: When they were remastering some Mono stuff, I just said,

887
00:42:15,076 --> 00:42:18,716
Speaker 1: just take one side, don't take both sides and put

888
00:42:18,756 --> 00:42:21,956
Speaker 1: them together choosually get some sort of phase. It's Mono.

889
00:42:22,596 --> 00:42:25,996
Speaker 1: Take one side. Yeah, it's good idea, you know. So

890
00:42:26,276 --> 00:42:29,116
Speaker 1: with with that process, and this is the thing that

891
00:42:29,196 --> 00:42:33,836
Speaker 1: I battle with is that I've had a really happy

892
00:42:33,956 --> 00:42:36,996
Speaker 1: time of things because because people have accepted what I do,

893
00:42:37,476 --> 00:42:39,036
Speaker 1: you know, which is amazing. And I never thought that

894
00:42:39,116 --> 00:42:42,276
Speaker 1: we know, I thought, again, burnt down material you're doing

895
00:42:43,076 --> 00:42:47,556
Speaker 1: it could be catastrophic. Yes, yes, So the fact that

896
00:42:47,916 --> 00:42:51,116
Speaker 1: it's not, the fact that it's not is a really

897
00:42:51,196 --> 00:42:54,116
Speaker 1: good sign because you really are playing with fire. Well

898
00:42:54,156 --> 00:42:56,436
Speaker 1: I think that's I mean, that's one of my great

899
00:42:56,516 --> 00:43:01,436
Speaker 1: marketing things, is that Charles Martin not catastrophic. Yes, that's what.

900
00:43:01,956 --> 00:43:06,836
Speaker 1: But but you're given the tools to really do damage.

901
00:43:06,996 --> 00:43:11,756
Speaker 1: Yeah no, yeah, yeah, I try my best. Um. But then,

902
00:43:12,036 --> 00:43:14,436
Speaker 1: and it's the weirdest thing now, that's it's like I'm

903
00:43:14,516 --> 00:43:17,676
Speaker 1: the person who talks about Beatles albums and the like

904
00:43:18,036 --> 00:43:20,196
Speaker 1: and the bells they want me to. It's like, you know,

905
00:43:20,436 --> 00:43:22,956
Speaker 1: when I was in XFM in New York talking about

906
00:43:22,996 --> 00:43:25,156
Speaker 1: Revolver and Ringo was in the in the morning before

907
00:43:25,276 --> 00:43:26,636
Speaker 1: night and then he went, hey, Ringo was and I

908
00:43:26,716 --> 00:43:28,436
Speaker 1: was like, was he and they went like yeah. He

909
00:43:28,476 --> 00:43:30,956
Speaker 1: goes he says, you know, we loved Jarles the best

910
00:43:30,996 --> 00:43:33,236
Speaker 1: and I love Ringo Ringer as you worked him. He's great.

911
00:43:33,276 --> 00:43:34,876
Speaker 1: He's like he not only is he one of the

912
00:43:34,916 --> 00:43:36,916
Speaker 1: best drummers ever to have lived, he's also one of

913
00:43:36,916 --> 00:43:39,716
Speaker 1: the nicest humans ever to live. Like, man, yeah, I

914
00:43:39,916 --> 00:43:42,556
Speaker 1: was like, why am I? Why am I talking about

915
00:43:42,596 --> 00:43:45,916
Speaker 1: Revolver and he's it's that thing, but you but the

916
00:43:45,996 --> 00:43:48,236
Speaker 1: technical aspect of it. Everyone's about tech aspect and I'm

917
00:43:48,236 --> 00:43:51,396
Speaker 1: feel like going, yeah, but it doesn't matter. Just listen

918
00:43:51,436 --> 00:43:53,316
Speaker 1: to the music, you know. That's the thing. It's like, yes,

919
00:43:53,796 --> 00:43:56,556
Speaker 1: there's with with Revolver, for instance, and I hope people

920
00:43:56,636 --> 00:43:58,596
Speaker 1: like it. It's had a like I didn't interview the

921
00:43:58,596 --> 00:44:00,876
Speaker 1: Sunday time and the guy said, I mean, you know,

922
00:44:00,916 --> 00:44:03,076
Speaker 1: I listened to my son and it's my favorite album

923
00:44:03,276 --> 00:44:05,316
Speaker 1: and I loved it. It's I come from I say,

924
00:44:05,396 --> 00:44:07,676
Speaker 1: Charles is great. It's like it was mastered a month ago.

925
00:44:08,116 --> 00:44:16,116
Speaker 1: I went, it was mastered a month ago, and that's

926
00:44:16,156 --> 00:44:17,796
Speaker 1: it's this weird kind of thing. But I want people

927
00:44:17,796 --> 00:44:19,516
Speaker 1: to listen to the songs. It's like that thing is

928
00:44:19,556 --> 00:44:21,636
Speaker 1: like with the Beatles, because the Beatles, it's the same

929
00:44:21,676 --> 00:44:24,356
Speaker 1: with the streaming thing. I use maybe in a not

930
00:44:24,476 --> 00:44:27,156
Speaker 1: even a Macavlian way, but I use that influence they

931
00:44:27,236 --> 00:44:29,396
Speaker 1: have as a as a catalog to try and make

932
00:44:30,156 --> 00:44:31,756
Speaker 1: all of it better, you know what I mean. That's

933
00:44:31,796 --> 00:44:33,996
Speaker 1: the if I'm if I'm going to be given this privilege,

934
00:44:33,996 --> 00:44:36,036
Speaker 1: I might as well. Like you know, the interesting thing

935
00:44:36,076 --> 00:44:41,316
Speaker 1: about the d mixing process is not necessarily it's it's less.

936
00:44:41,356 --> 00:44:44,756
Speaker 1: It's it's amazing that we do technology which is helping

937
00:44:45,076 --> 00:44:48,196
Speaker 1: me mix Revolver by the Beatles, and it's one of

938
00:44:48,236 --> 00:44:51,756
Speaker 1: the greatest albums whatever. But for things like stopped by

939
00:44:51,876 --> 00:44:55,116
Speaker 1: dre there's things that stopped on on on MPCs or

940
00:44:55,356 --> 00:44:59,116
Speaker 1: ACAI samplers in the nineties. People don't have their assets. Yes,

941
00:44:59,316 --> 00:45:01,836
Speaker 1: you know, the Tom from the Chemical Brothers family wants

942
00:45:01,836 --> 00:45:03,916
Speaker 1: a remix setting some of the Chemical Brothers and he goes,

943
00:45:04,076 --> 00:45:07,036
Speaker 1: we just can't find the drums, Giles, and you go, Okay,

944
00:45:07,156 --> 00:45:11,716
Speaker 1: there's artists that now and have their things back amazing,

945
00:45:11,796 --> 00:45:14,076
Speaker 1: and so that's what I'm going. That's what we're going, Okay,

946
00:45:14,436 --> 00:45:16,556
Speaker 1: how do we how do we make this available to people?

947
00:45:16,916 --> 00:45:19,036
Speaker 1: That's what I'm into. I'm not into. I'm not into

948
00:45:19,076 --> 00:45:21,036
Speaker 1: the elitism of it. I mean it's the Beatles, so

949
00:45:21,116 --> 00:45:24,676
Speaker 1: it's elitist, but I much offer it to be for everybody. Yes,

950
00:45:24,796 --> 00:45:27,756
Speaker 1: And it's a great tool and for the people who

951
00:45:27,876 --> 00:45:31,956
Speaker 1: also happen to catch the best version of something at

952
00:45:31,996 --> 00:45:35,236
Speaker 1: the demo recording and it was just on a dat

953
00:45:35,396 --> 00:45:37,956
Speaker 1: or digital recorder and that's all you had was the

954
00:45:38,076 --> 00:45:41,196
Speaker 1: digital recording and it doesn't really sound as good as

955
00:45:41,236 --> 00:45:43,596
Speaker 1: it can, but the performance has never been beat Yeah.

956
00:45:43,676 --> 00:45:45,556
Speaker 1: The fact that that could now be turned into a

957
00:45:45,636 --> 00:45:48,116
Speaker 1: proper recording, it's very exciting. And there's so much stuff

958
00:45:48,236 --> 00:45:51,596
Speaker 1: even I mean I was asked to remix, and when

959
00:45:51,596 --> 00:45:53,236
Speaker 1: I was in my twenties, I went within access since

960
00:45:53,316 --> 00:45:54,756
Speaker 1: they became friends of mine now, they asked me to

961
00:45:54,836 --> 00:45:57,036
Speaker 1: go and you know, mix something, and they could they

962
00:45:57,076 --> 00:45:59,436
Speaker 1: had no one can find the vocal to this track. Wow.

963
00:45:59,796 --> 00:46:01,876
Speaker 1: And it's like a really well known song. Wow. And

964
00:46:02,036 --> 00:46:04,156
Speaker 1: so you know, hey, Peter, can you have a look

965
00:46:04,156 --> 00:46:06,196
Speaker 1: at this? And it's like, here's your vocal back. Just

966
00:46:06,356 --> 00:46:10,036
Speaker 1: things like that. Amazing. The incredible thing about what I

967
00:46:10,156 --> 00:46:11,996
Speaker 1: get to do is I get to get a one

968
00:46:12,076 --> 00:46:15,396
Speaker 1: inch four track tape out of its box and put

969
00:46:15,476 --> 00:46:18,836
Speaker 1: on a machine press play, and it sounds the same

970
00:46:18,916 --> 00:46:21,556
Speaker 1: as when it was recorded. And with the Beatle stuff,

971
00:46:21,556 --> 00:46:24,676
Speaker 1: there's no baking, there's no restoration, and I don't want to.

972
00:46:24,716 --> 00:46:26,796
Speaker 1: I don't want to digitally cleanse something. I don't want

973
00:46:26,796 --> 00:46:29,196
Speaker 1: to because it ages things. It's like, you know, it's

974
00:46:29,236 --> 00:46:32,156
Speaker 1: like plastic surgery or someone's face. It'll change the quality

975
00:46:32,236 --> 00:46:35,876
Speaker 1: that's there in the world of what our legacy, of

976
00:46:35,996 --> 00:46:39,356
Speaker 1: what we've done or what you've done. How many recordings

977
00:46:39,396 --> 00:46:42,716
Speaker 1: that you play back can be played now? I mean,

978
00:46:42,796 --> 00:46:44,596
Speaker 1: that's the thing. That's the thing that happens. It's like,

979
00:46:45,076 --> 00:46:47,636
Speaker 1: you know, even a love showing in Vegas after the

980
00:46:47,676 --> 00:46:50,196
Speaker 1: tenth anniversary, we redid it and I was working on

981
00:46:50,276 --> 00:46:54,676
Speaker 1: Protal's nine creating this thing. I couldn't open the sessions up.

982
00:46:55,076 --> 00:46:56,356
Speaker 1: We have to go back and get an old computer

983
00:46:56,476 --> 00:46:59,156
Speaker 1: and you know that's it's that but sort for fifty

984
00:46:59,196 --> 00:47:02,876
Speaker 1: six years ago, get out the box and press play. Amazing.

985
00:47:05,916 --> 00:47:08,836
Speaker 1: There's more of Rick and Giles's conversation, so we should

986
00:47:08,836 --> 00:47:11,036
Speaker 1: have check out part two next week. For to talk

987
00:47:11,076 --> 00:47:13,996
Speaker 1: about the glory days of George Martin studio that was

988
00:47:14,076 --> 00:47:17,356
Speaker 1: built next to an active volcano in the Caribbean. They

989
00:47:17,436 --> 00:47:20,156
Speaker 1: also listened to a song from the remastered Revolver album

990
00:47:20,516 --> 00:47:24,276
Speaker 1: and Giles talks about his father's surprising punk rock facts.

991
00:47:24,876 --> 00:47:27,396
Speaker 1: You can hear a playlist of Beatles songs remixed by

992
00:47:27,476 --> 00:47:30,956
Speaker 1: Giles Martin at broken Record podcast dot com. You can

993
00:47:30,996 --> 00:47:34,036
Speaker 1: subscribe to our YouTube channel at YouTube dot com slash

994
00:47:34,156 --> 00:47:36,636
Speaker 1: Broken Record Podcasts, where you can find all of our

995
00:47:36,676 --> 00:47:40,556
Speaker 1: new episodes. You can follow us on Twitter at broken Record.

996
00:47:40,956 --> 00:47:45,156
Speaker 1: Broken Record is produced with helpful ly Arose, Jason Gambrel, Ventaladay,

997
00:47:45,356 --> 00:47:49,876
Speaker 1: and Eric Sandler. Our editor is Sophie Crane. Broken Record

998
00:47:49,956 --> 00:47:52,436
Speaker 1: is a production of Pushkin Industries. If you love this

999
00:47:52,516 --> 00:47:55,756
Speaker 1: show and others from Pushkin, consider subscribing to Pushkin Plus.

1000
00:47:56,476 --> 00:48:00,036
Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content

1001
00:48:00,156 --> 00:48:03,396
Speaker 1: and uninterrupted ad free listening for four ninety nine a month.

1002
00:48:03,836 --> 00:48:07,276
Speaker 1: Look for Pushkin Plus on Apple podcast subscriptions, and if

1003
00:48:07,276 --> 00:48:09,436
Speaker 1: you like the show, please remember to share, rate, and

1004
00:48:09,556 --> 00:48:12,596
Speaker 1: review us on your podcast apt I thee Musics by

1005
00:48:12,676 --> 00:48:19,836
Speaker 1: Kenny Beats. I'm justin Richmond, h