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11.08pm
31 March 2008
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Ah, I see. Sorry. This might be of interest (the whole thing is worth a read if you want to geek out a little).
Though the Beatles were innovators in the use of two or four tracks, they often put all the instruments on a single track and then used the remaining tracks for ancillary sounds and effects. Apple Corps wanted the game to cover the span of the band’s career, so Harmonix would have to find a way to extract the different instruments from those early songs.
”We were thinking, oh crap, this is a daunting challenge,” recalls Rigopulos, ”but it’s a problem worth solving.”
Working with Martin, Harmonix first tried to use conventional audio engineering tools to filter specific sounds from the original master tapes, recorded at Abbey Road Studios in the 1960s. But the method required too many steps, and the results often weren’t accurate enough.
”You couldn’t just set up a single filter to remove the tambourine,” Egozy says.
A more hands-on process was necessary. Egozy and his team turned to audio forensic software normally used by law enforcement and in restoration projects. These tools, equipped with advanced digital-signal-processing capabilities, include more controls than those offered by most audio-filtering packages. Myriad audio parameters can be tweaked in order to zero in on specific sound elements.
Egozy says that although sounds with distinct frequency ranges were easily separated using equalizers, the work became much more difficult as the frequencies were intermingled.
”The forensic tools really helped in cases where we had several more full-frequency instruments on the same track,” he says. ”For example, guitar on the same track as drums, or vocals on the same track as guitar, or all three on a single track.”
Fine-tuning the filters was a painstaking process. Harmonix and Giles Martin spent several months going through each song, separating instruments and vocals onto different tracks and then identifying every bit of sound, note by note.
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1.25am
8 January 2015
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Wild stuff! Of course, it makes sense that forensic tools would be handy in this context. I hope that kind of stuff has made its way into the general market, I find it very addictive to play with vsts and I don’t understand half of it.
I'm like Necko only I'm a bassist ukulele guitar synthesizer kazoo penguin and also everyone. Or is everyone me? Now I'm a confused bassist ukulele guitar synthesizer kazoo penguin everyone who is definitely not @Joe. This has been true for 2016 & 2017 
but I may have to get more specific in the future.
12.19pm
18 September 2016
Offline Turn off your mind, relax and float downstream – don’t mind if I do…Plus one of the laziest, sexiest, funkiest drum loops ever.Way ahead of itself still.
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Beatlebug
“I know, Jerry, that you are as human as the rest of us, if not more so."
12.29pm
9 March 2017
Offline Does George play rhythm guitar on this song, the only guitar part I hear is the recycled solo from Taxman , but this site says otherwise, but then again I probably should take a site that makes absurd claims such as George playing bass on Rock And Roll Music , John playing acoustic guitar on Another Girl , John and George playing guitar on Little Child , Paul playing bass on Love You To , and George playing bass on Good Day Sunshine with a grain of salt, which is why I chose to ask you.
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5.16pm
Moderators
27 November 2016
Offline I certainly don’t hear any rhythm guitar.
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7.04pm
9 March 2017
Offline Me neither, I assume George sat out during the backing track, similar to She’s A Woman where he played his guitar part as an overdub, maybe he had other things to do or was taking a break after the hectic sessions for Taxman , probably shaking off his anger of having Paul play the solo on his song. This is like the guitar in Little Child or the bass in Love You To , people claim it’s there but it’s clearly not.
If you're reading this, you are looking for something to do.
12.40pm
18 September 2016
Offline In the extras dvd of the Beatles Anthology, George Martin, McCartney, Starr and Harrison are in the studio discussing the production of it and picking through the recording, Martin says at one point “that’s you on guitar George”.
“I know, Jerry, that you are as human as the rest of us, if not more so."
1.33pm
9 March 2017
Offline I’ll have to take a look at that.
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12.39pm
9 March 2017
Offline I finally found out where George’s rhythm guitar in Tomorrow Never Knows is and some of you may be surprised.
You see, there’s this part that sounds like a Bb chord and then a C chord, both being gradually raised in volume. At first i passed it off as an organ. However, on closer inspection, it seems to be George’s rhythm guitar, being played with a volume pedal just like Love You To .
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3.56pm
1 December 2009
Offline Can you pinpoint the time where this occurs DA?
GEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty.
5.07pm
9 March 2017
Offline It’s during the it is believing/it is not dying/it is knowing part of the song.
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4.45am
26 January 2017
Offline What an amazing song this is. Totally sends you into a new sonic dimension, even if you’re not high.
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Dark OverlordI've been up on the mountain, and I've seen his wondrous grace,
I've sat there on the barstool and I've looked him in the face.
He seemed a little haggard, but it did not slow him down,
he was humming to the neon of the universal sound.
4.52am
9 March 2017
Offline I wonder what guitar model George used on this song, considering that the rhythm guitar uses a volume pedal and is hard to tell apart from the organ, i can’t determine what guitar model it is from tone alone unlike other songs. Tomorrow Never Knows really doesn’t have George doing much on guitar but it’s either Rocky, a Gibson SG, or an Epiphone Casino since those are the 3 electric guitars George used on Revolver that isn’t the Rickenbacker 12 string which was used on Here, There, And Everywhere.
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9.08am
26 January 2017
Offline George used the rick on HTAE? I thought he had retired it by that point.
I've been up on the mountain, and I've seen his wondrous grace,
I've sat there on the barstool and I've looked him in the face.
He seemed a little haggard, but it did not slow him down,
he was humming to the neon of the universal sound.
4.28pm
26 January 2017
Offline QuarryMan said
What an amazing song this is. Totally sends you into a new sonic dimension, even if you’re not high.
But when you are…
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-Bob Dylan, Subterranean Homesick Blues
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2.36pm
11 November 2010
Offline I’ve got a question for people who have tweaked music on computers before. On Take 1 (the Anthology version), how much is the riff slowed down by? I tried figuring it out before, but I could never make it sound right.
I'm Necko. I'm like Ringo except I wear necklaces.
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Most likely to post things that make you go hmm... 2015, 2016, 2017. 
12.03am
15 May 2015
Offline An interesting detail about Tomorrow Never Knows is that John envisioned having monks chanting in it — I imagine Gregorian chants, something along the lines of this, but more rhythmically pulsating —
list=RDkK5AohCMX0U
Too bad he didn’t re-do it later
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1.27am
Reviewers
17 December 2012
Offline 
I think you’ll find he was imagining Tibetan monks, just as he envisioned himself sounding like the Dalai Lama singing from the mountaintops, @Pineapple Records.
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
10.15pm
15 May 2015
Offline Ron Nasty said
I think you’ll find he was imagining Tibetan monks, just as he envisioned himself sounding like the Dalai Lama singing from the mountaintops, @Pineapple Records.
Ah yes, that makes sense. That would fit better —
A ginger sling with a pineapple heart,
a coffee dessert, yes you know it's good news...
3.50pm
Reviewers
14 April 2010
Offline For ‘Tomorrow Never Knows ‘ he said to me he wanted his voice to sound like the Dalai Lama chanting from a hilltop, and I said, “It’s a bit expensive, going to Tibet. Can we make do with it here?” I knew perfectly well that ordinary echo or reverb wouldn’t work, because it would just put a very distant voice on. We needed to have something a bit weird and metallic…
A Leslie speaker is a rotating speaker, a Hammond console, and the speed at which it rotates can be varied according to a knob on the control. By putting his voice through that and then recoding it again, you got a kind of intermittent vibrato effect, which is what we hear on ‘Tomorrow Never Knows ‘. I don’t think anyone had done that before. It was quite a revolutionary track for Revolver .
George Martin
Anthology
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