On Wednesday, June 6th, 1962, four young musicians entered Studio 2 of EMI Recording Studios, known today as Abbey Road, for the first time. Little did they know that those sessions would forever change the history of recorded music and pop culture.
For the next eight years, Abbey Road became The Beatles' creative home, bringing the world some of its most cherished music to date. Over 11 albums, they would collaborate with a handful of engineers and producers, with the goal of changing the sound every time they entered the room.
In this Puremix exclusive, engineer/producer Fab Dupont heads to Abbey Road with one of the most iconic engineers in music history, Ken Scott, to learn the history of The Beatles recording techniques.
Joining Fab and Ken are "The Fab Faux." Revered as one of the most accurate tribute bands of The Beatles music, they are the perfect talent to call upon to recreate the sound of the four different eras. Their knowledge of the music, equipment, and history is second to none.
For the music, The Fab Faux have penned multiple songs, true to each era, to perform as a base for Ken to recreate the sound using the same microphones, the same consoles, and the same room that The Beatles called home for so many years.
Join Ken, Fab, and The Fab Faux as they journey back to discover and pass on the recording techniques that changed it all.
Altec RS124
Fairchild 660
Neumann U47
Redd Desk
RS127
STC 4033
STC 4038
4.8
32 reviews
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tzer0 •Thursday, February 22, 2024
As they said, much of the information "known" about The Beatles is flat out wrong. It's now known they did not always use Flat Wound Strings as was thought. John had been using Gibson Sonomatics Round Wounds on his Rickenbackers, even the '58, at least since the Bigsby had been put on. Need proof? Check out the video, Beatles Guitar Strings: What They REALLY Used. John would also tune his D string a little flat. That way when Mimi asked him which guitar was him he'd tell her the one that's out of tune.
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MarkTheFrog •Thursday, February 8, 2024
Awesome series! Thanks for putting this up!
StudioRaido •Sunday, February 4, 2024
One word: Thanks!
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hjorturi •Saturday, January 20, 2024
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Nrvfab •Wednesday, December 13, 2023
Too bad we don't seem to have the tracks to download. it would have been very useful.
The Beatles dont use the fairchild comp in the era 1 . It was introduce in 1964 !!
billnunez •Sunday, November 5, 2023
Takeaways for me: get the right sound in the room on the right instruments played by the right players by listening, pick the right mics and place them correctly by listening, setup your front end processing to get as close to the final sound as possible by listening. More listening. The final mix will fall into your lap if you've really been listening. I love it. It's far from the only way to work, but the lessons are applicable to every way of working.
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leosteeds •Monday, October 2, 2023
Fantastic series. This is practically worth the subscription price alone. Whether or not you draw inspiration directly from the Beatles, anyone involved in music production can't fail to learn something from this. Also a great record of a historic music production process for posterity. All involved played their part brilliantly.
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simman •Thursday, September 28, 2023
Awesome series. Sound of my youth. There is magic in that there building!
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robingriffiths1970 •Saturday, September 16, 2023
I love this and I binge watched it! But why did most of the 'songs' not have vocals?? They're not songs without and vocals/harmonies were the bedrock of the Beatles. The 'tracks' became very well played and produced pastiches. And I know you can't include everything from the catalogue (e.g. full orchestras) but what about guitar effects pedals, I know there weren't many but it would have been ace to see an old Vox wah, Vox tone bender or Fuzz Face. So many missed opportunities!
Diego Hernández •Wednesday, September 13, 2023
Great series! Thank Fab and Mr. Ken Scott
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Lucas Tencer •Wednesday, September 13, 2023
jasonkohls •Monday, September 4, 2023
What a great series... I do think the drums are too loud in the mix compared to Please Please Me, the ride cymbal's transients are still too peaky even with the tape helping to tame them. But all in all, pretty amazing and thanks for doing this!
