Emerick was like 15 years old when he started working for EMI and participating on Beatle recordings. He was there in fact for the first ever Beatle recording and eventually became the sound engineer for all of their later work. All while still a teenager. His love for music and the Beatles comes through in his narative and he conveys a number of fascinating insights and anecdotes.
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September 17, at pm said: Hi, yes it is a splendid read. He was there, but was an observer once removed. If you read the book in that light it remains a fascinating insight into how they matured as a band, how their music and approach to recording developed, and how ultimately they began to fall apart. Emerick clearly has various biases about the Beatles as individuals and as players and composers. You have to take that into account. But at least Geoff Emerick was there.
Paul did 32 takes of the song, 11 of which were complete. Maybe in experimenting with the sound they did try a couple by the back door of the studio. Most of the bird noises were dubbed on later from a sound effects record, but a couple of them were live, sparrows and finches singing outside the Abbey Road studio on a soft summer eve with Paul McCartney.
He acknowledges the actual blackbird birdsong is a sound effect added in later — but that there are some other natural bird sounds in there that were recorded at the time. If you listen closely to the mono mix you can hear some other birds in there apart from the blackbird sound effect recording. Emerick makes it clear that John was involved in the recording. It was a song he detested, yes, and like the others he got heartily sick and tired of the number of times that Paul wanted to rehearse and record the song.
It took days in the studio to get right, and in fact at one point Lennon did storm out of the studio — but he definitely played on it. See pages
One of his teachers there heard about a job at EMI and suggested he apply. At age 16, he was employed as an assistant engineer. From early in , his involvement with the band was limited due to his training program at EMI, as he progressed to lacquer cutter, mastering engineer and then balance or recording engineer. Lennon told Martin he wanted to re-create the "carnival atmosphere" of the Pablo Fanque circus poster that inspired the song.
Here, There and Everywhere: My Life Recording the Music of the Beatles
Lennon told Martin he wanted to re-create the "carnival atmosphere" of the Pablo Fanque circus poster that inspired the song. For the middle eight bars, Emerick spliced together multiple recordings of fairground organs and calliope in an attempt to create the effect; after a great deal of unsuccessful experimentation, Martin instructed Emerick to chop the tape into pieces with scissors, throw them up in the air, and re-assemble them at random. He also recorded some of the backing tracks for the debut album by Stealers Wheel , but resigned early on in the process, handing over to Apple recording engineer John Mills to continue working with producers Jerry Leiber and Mike Stoller. The former Beatles initiated legal proceedings to prevent EMI from issuing the album, saying that the work was substandard;  when made available on bootleg compilations, his mixes and editing of some of the tracks were widely criticised by collectors. Emerick used much of the original equipment to record the new versions of the songs,  and the results were broadcast on BBC Radio 2 on 2 June that year. He had been hospitalised two weeks beforehand after experiencing trouble walking, but was ruled to have been dehydrated.