1966-04-06 and beyond, Revolver Sessions upgrades 7-22 June
Posted: Wed Apr 06, 2022 1:22 pm
1966-04-06
On this date way back when, the guys started work on Revolver. This is an upgrade of the 2005 Revolver Sessions with many re-worked tracks (some are still the same) as well as updated notes. All are organized in folders by date and will be uploaded day by day on the date of the session; easier to take this kind of stuff in small doses rather than multiple cds all at once. I'm not sure what to call these now because BFB took my title so I'm not gonna use it any more.
I'm still working through these but have a couple weeks head start so hopefully will be able to keep up. I've been using mvsep online on some tracks (thanks to the tip here at this forum), with the demucs3 model B setting. The software isn't perfect though so some of the instrumental and isolated vocals tracks will still have some distortion & unwanted remnants at times. Sometimes the backing track is mixed back in to an isolated overdub in order to mask this & make the track more listenable.
None of the source books are here with me on my extended "working" vacation on the CA central coast so I'm at a bit of a disadvantage & sort of winging it with only the original notes & faulty memory to go by. Session photos could be included in the proper folders but those are all on a hard drive that isn't here. Photos at the Paperback Writer overdub session on the 14th come to mind, but there are many others.
Here it comes, stand by:
hxxps://drive.google.com/file/d/1PRaiKxGc_AWObwg3mqXoEwdD0glX-ueV/view?usp=sharing
Apr 6th 1966 - Studio Three, 8:15pm-1:00am
01. Tomorrow Never Knows take 1 - Backing loop. This track was created from the song’s intro prior to
the drums’ entrance, looped and speeded up by an octave to demonstrate the piece as it may have been
originally performed, according to the documentation reported by ML. The loop consists of a "rhythm"
guitar played through a revolving Leslie speaker and another "fuzzed" guitar playing the melody. It
seems now that the loops are at different speeds. In part one the backing sounds like it is at normal
speed, in the 2nd section it seems to be at half speed while the lead guitar loop is running at normal
speed. The lead guitar in the first segment approaches chipmunk territory.
02. Tomorrow Never Knows take 1 intro, from Rockband with the extra bass notes.
03. Tomorrow Never Knows SI onto take 1 - Drums and vocal overdub onto the loop, with the overdub
track here made more prominent. Ringo has trouble keeping time with the loop, which you can hear
more clearly on the regular Anthology version; perhaps that's why in take 3 (and possibly take 2
also) they've reversed the order and recorded the backing first.
04. Tomorrow Never Knows take 1 - A new remix of the full version to make it possibly sound more
like what ML described ("thunderous" or whatever). An extended isolated re-looped backing loop was
mixed back in to the Anthology itunes remaster.
05. Tomorrow Never Knows take 3 – Bass and drums rhythm track. A center channel isolation of the
stereo mix, which contains the later 4/22 vocal, has the tamboura drone processed out (some of this
convoluted process is documented on CT-03 Revolver Isolation Tests - it's not from one of the new
stem separation programs). The guitar solo section is an edited-in loop for demonstration purposes,
to remove bleedthrough from the backwards guitar solo. This track from the original set has been run
through the Demux3 B setting with mvsep to remove the later vocal overdub (with moderate success).
06. Tomorrow Never Knows take 3 first vocal - Not really; this is the cv version of the vocal in the
center of the stereo mix separated from the instruments with mvsep, then mixed back in to highlight
it. However, after the vocal take ends, a brief "...ning" cuts in, a remnant of a previous vocal
which may very well be the vocal from this session (or an earlier vocal take on the 22nd that was
wiped by a new vocal). The 2nd part of the vocal sung through the Leslie speaker could be the vocal
from this session; it sounds very similar to the vocal in take 1, as well as the "...ning" at the
end. Maybe the overdubbed vocal on the 22nd only replaced the first section.
On this date way back when, the guys started work on Revolver. This is an upgrade of the 2005 Revolver Sessions with many re-worked tracks (some are still the same) as well as updated notes. All are organized in folders by date and will be uploaded day by day on the date of the session; easier to take this kind of stuff in small doses rather than multiple cds all at once. I'm not sure what to call these now because BFB took my title so I'm not gonna use it any more.
I'm still working through these but have a couple weeks head start so hopefully will be able to keep up. I've been using mvsep online on some tracks (thanks to the tip here at this forum), with the demucs3 model B setting. The software isn't perfect though so some of the instrumental and isolated vocals tracks will still have some distortion & unwanted remnants at times. Sometimes the backing track is mixed back in to an isolated overdub in order to mask this & make the track more listenable.
None of the source books are here with me on my extended "working" vacation on the CA central coast so I'm at a bit of a disadvantage & sort of winging it with only the original notes & faulty memory to go by. Session photos could be included in the proper folders but those are all on a hard drive that isn't here. Photos at the Paperback Writer overdub session on the 14th come to mind, but there are many others.
Here it comes, stand by:
hxxps://drive.google.com/file/d/1PRaiKxGc_AWObwg3mqXoEwdD0glX-ueV/view?usp=sharing
Apr 6th 1966 - Studio Three, 8:15pm-1:00am
01. Tomorrow Never Knows take 1 - Backing loop. This track was created from the song’s intro prior to
the drums’ entrance, looped and speeded up by an octave to demonstrate the piece as it may have been
originally performed, according to the documentation reported by ML. The loop consists of a "rhythm"
guitar played through a revolving Leslie speaker and another "fuzzed" guitar playing the melody. It
seems now that the loops are at different speeds. In part one the backing sounds like it is at normal
speed, in the 2nd section it seems to be at half speed while the lead guitar loop is running at normal
speed. The lead guitar in the first segment approaches chipmunk territory.
02. Tomorrow Never Knows take 1 intro, from Rockband with the extra bass notes.
03. Tomorrow Never Knows SI onto take 1 - Drums and vocal overdub onto the loop, with the overdub
track here made more prominent. Ringo has trouble keeping time with the loop, which you can hear
more clearly on the regular Anthology version; perhaps that's why in take 3 (and possibly take 2
also) they've reversed the order and recorded the backing first.
04. Tomorrow Never Knows take 1 - A new remix of the full version to make it possibly sound more
like what ML described ("thunderous" or whatever). An extended isolated re-looped backing loop was
mixed back in to the Anthology itunes remaster.
05. Tomorrow Never Knows take 3 – Bass and drums rhythm track. A center channel isolation of the
stereo mix, which contains the later 4/22 vocal, has the tamboura drone processed out (some of this
convoluted process is documented on CT-03 Revolver Isolation Tests - it's not from one of the new
stem separation programs). The guitar solo section is an edited-in loop for demonstration purposes,
to remove bleedthrough from the backwards guitar solo. This track from the original set has been run
through the Demux3 B setting with mvsep to remove the later vocal overdub (with moderate success).
06. Tomorrow Never Knows take 3 first vocal - Not really; this is the cv version of the vocal in the
center of the stereo mix separated from the instruments with mvsep, then mixed back in to highlight
it. However, after the vocal take ends, a brief "...ning" cuts in, a remnant of a previous vocal
which may very well be the vocal from this session (or an earlier vocal take on the 22nd that was
wiped by a new vocal). The 2nd part of the vocal sung through the Leslie speaker could be the vocal
from this session; it sounds very similar to the vocal in take 1, as well as the "...ning" at the
end. Maybe the overdubbed vocal on the 22nd only replaced the first section.
