Recording
Produced by George Martin and engineered by Geoff Emerick, "Yellow Submarine" was finished after five takes on 26 May 1966, in Studio Two at Abbey Road Studios, with special effects being added on 1 June 1966. George Martin drew on his experience as a producer of comedy records for Beyond the Fringe and The Goon Show, providing an array of zany sound effects to create the nautical atmosphere. On the second session the studio store cupboard was ransacked for special effects, which included chains, a ship's bell, tap dancing mats, whistles, hooters, waves, a tin bath filled with water, wind and thunderstorm machines, as well as a cash register, which was later used on Pink Floyd's song "Money".
Lennon blew through a straw into a pan of water to create a bubbling effect, McCartney and Lennon talked through tin cans to create the sound of the captain's orders, at 1:38-40 in the song, Ringo stepped outside the doors of the recording room and yelled like a sailor acknowledging "Cut the cable! Drop the cable!", which was looped into the song afterwards, and Abbey Road employees John Skinner and Terry Condon twirled chains in a tin bath to create water sounds. After the line, "and the band begins to play", Emerick found a recording of a brass band and changed it slightly so it could not be identified, although it is thought to be a recording of Georges Krier and Charles Helmer's 1906 composition, "Le Rêve Passe". The original recording had a spoken intro by Starr, but the idea was abandoned on 3 June 1966.
When the overdubs were finished, Evans strapped on a marching bass drum and led everybody in a line around the studio doing the conga dance whilst banging on the drum.
"Yellow Submarine" was mixed on 2 and 3 June, and finished on 22 June 1966.
Read more about this topic: Yellow Submarine (song)
Famous quotes containing the word recording:
“Self-expression is not enough; experiment is not enough; the recording of special moments or cases is not enough. All of the arts have broken faith or lost connection with their origin and function. They have ceased to be concerned with the legitimate and permanent material of art.”
—Jane Heap (c. 1880–1964)
“I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!”
—Henry Miller (1891–1980)
“He shall not die, by G—, cried my uncle Toby.
MThe ACCUSING SPIRIT which flew up to heaven’s chancery with the oath, blush’d as he gave it in;—and the RECORDING ANGEL as he wrote it down, dropp’d a tear upon the word, and blotted it out for ever.”
—Laurence Sterne (1713–1768)