Editing Revolver (Beatles album) (section)

=== Studio aesthetic ===
{{quote box|quote= ''Revolver'' very rapidly became the album where the Beatles would say, "OK, that sounds great, now let's play [the recording] backwards or speeded up or slowed down." They tried everything backwards, just to see what things sounded like.{{sfn|Hertsgaard|1996|pp=177–78}}{{sfn|Lewisohn|2005|p=74}}|source= – EMI recording engineer [[Geoff Emerick]]|width=25%|align=left|style=padding:8px;}}
The sessions for ''Revolver'' furthered the spirit of studio experimentation that was evident on ''Rubber Soul''.{{sfn|Kruth|2015|pp=195–96}}{{sfn|Howard|2004|pp=20, 23}} With the Beatles increasingly involved in the production of their music, Martin's role as producer had changed to one of a facilitator and collaborator, whereby the band now relied on him to make their ideas a reality.<ref name="Sheffield/RS 50th">{{cite magazine|url=https://www.rollingstone.com/music/features/celebrating-revolver-beatles-first-on-purpose-masterpiece-w432935 |first=Rob|last=Sheffield|title=Celebrating 'Revolver': Beatles' First On-Purpose Masterpiece|magazine=[[Rolling Stone]]|date=5 August 2016|access-date=24 June 2017}}</ref>{{sfn|The Beatles|2000|p=206}}{{refn|group=nb|The change in the dynamic between the Beatles and Martin began in 1964.{{sfn|Millard|2012|p=179}} Speaking about his role in 1966, Martin said: "I've changed from being the [[Gaffer (boss)|gaffer]] to four Herberts from Liverpool to what I am now, clinging on to the last vestiges of recording power."<ref name="Sheffield/RS 50th" />}} According to Rodriguez, ''Revolver'' marked the first time the Beatles integrated studio technology into the "conception of the recordings they made".{{sfn|Rodriguez|2012|p=xii}} He views this approach as reflective of the group's waning interest in live performance before crowds of screaming fans, "in favor of creating soundscapes without limitation" in a studio environment.{{sfn|Rodriguez|2012|p=xiv}} For the first time at EMI Studios, the company's [[Multitrack recording|four-track]] tape machines were placed in the studio's control room, alongside the producer and balance engineer, rather than in a dedicated machine room.{{sfn|Emerick|Massey|2006|pp=48, 86}} The Beatles' new [[recording engineer]] on the project was nineteen-year-old [[Geoff Emerick]],{{sfn|Hertsgaard|1996|p=179}} whom author and critic [[Ian MacDonald]] describes as an "English audio experimentalist" in the tradition of [[Joe Meek]].{{sfn|MacDonald|2005|p=190fn}}{{refn|group=nb|In the 1950s, Meek had pioneered many recording techniques and had experimented with close-miking,<ref>{{cite magazine|last=Cleveland|first=Barry|title=Why modern audio recording might not exist without British DIY audio pioneer Joe Meek|url=http://tapeop.com/articles/100/joe-meek/|magazine=[[Tape Op]]|access-date=25 May 2017|date=March 2014}}</ref> a sound-capture technique favoured by Emerick.{{sfn|Hertsgaard|1996|p=179}} Meek's preeminence was usurped by the Beatles and other British rock 'n' roll bands in 1963.{{sfn|Prendergast|2003|p=189}}}} Emerick recalled that no preproduction or rehearsal process took place for ''Revolver''; instead, the band used the studio to create each song from what was often just an outline of a composition.{{sfn|Emerick|Massey|2006|pp=117–18}} Speaking shortly before the start of the sessions, Lennon said that they had considered making the album a continuous flow of tracks, without gaps to differentiate between each song.<ref name="Sutherland/NMEOrig" />{{refn|group=nb|This technique was instead used for the first time on a pop album when the Beatles released their follow-up to ''Revolver'', ''[[Sgt. Pepper's Lonely Hearts Club Band]]''.{{sfn|Womack|2007|p=170}} Author and critic [[Tim Riley (music critic)|Tim Riley]] nevertheless identifies the segues from "[[I'm Only Sleeping]]" to "[[Love You To]]" and "[[Doctor Robert]]" to "[[I Want to Tell You]]" as anticipating the "continuous stream of sound" achieved on ''Sgt. Pepper''.{{sfn|Riley|2002|p=196}}}}

[[File:Abbey road studios.jpg|thumb|right|[[EMI]]'s [[Abbey Road Studios]] (pictured in 2005). Most of the sessions for ''Revolver'' took place in the complex's intimate Studio 3.]]
The group's willingness to experiment was also evident in their dedication to finding or inventing sounds that captured the heightened perception they experienced through hallucinogenic drugs.{{sfn|Case|2010|pp=30–31}}{{sfn|Turner|2016|p=414}} The album made liberal use of [[Dynamic range compression|compression]] and [[Equalization (audio)|tonal equalisation]].{{sfn|Ingham|2006|p=40}} Emerick said that the Beatles encouraged the studio staff to break from standard recording practices,{{sfn|Jones|2016|p=31}} adding: "It was implanted when we started ''Revolver'' that every instrument should sound unlike itself: a piano shouldn't sound like a piano, a guitar shouldn't sound like a guitar."<ref name="Irvin/Tomorrow">Irvin, Jim. "Into Tomorrow". In: {{harvnb|''Mojo Special Limited Edition''|2002|p=45}}.</ref>

In their search for new sounds, the band incorporated musical instruments such as the Indian [[Tanpura|tambura]] and [[tabla]], and [[clavichord]], [[vibraphone]] and [[tack piano]] into their work for the first time.{{sfn|Babiuk|2002|pp=182, 184, 185}} The guitar sound on the album was more robust than before, through the use of new [[Fender Musical Instruments Corporation|Fender]] amplifiers; the choice of guitars, which included Harrison using a [[Gibson SG]] as his preferred instrument; and the introduction of [[Fairchild 660]] limiters for recording.<ref name="Scapelliti/GW">{{cite web|url=http://www.guitarworld.com/guide-recording-equipment-songs-and-instruments-featured-beatles-revolver-album|first=Christopher|last=Scapelliti|title=The Beatles' 'Revolver': Guide to the Songs, Instruments and Recording Equipment|publisher=[[Guitar World|guitarworld.com]]|date=5 August 2016|access-date=25 June 2017|archive-url=https://web.archive.org/web/20170617200000/http://www.guitarworld.com/guide-recording-equipment-songs-and-instruments-featured-beatles-revolver-album|archive-date=17 June 2017|url-status=live}}</ref> With no expectations of being able to re-create their new music within the confines of their live shows,{{sfn|Turner|2016|p=404}}{{sfn|Hodgson|2010|p=viii}} the Beatles increasingly used outside contributors while making the album.{{sfn|Rodriguez|2012|p=112}} This included the band's first use of a [[horn section]],<ref name="Sheffield/RS 50th" /> on "[[Got to Get You into My Life]]",{{sfn|Rodriguez|2012|p=112}} and the first time they incorporated [[sound effects]] extensively,{{sfn|Reising|2006|p=112}} during a party-style overdubbing session for "[[Yellow Submarine (song)|Yellow Submarine]]".{{sfn|Winn|2009|pp=22–23}}