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17 Responses to “SIDEBOARDS:”

  1. Michael says:

    Looks more like around the time of the AHDN sessions…maybe?

  2. A Car And A Room And A Room And A Room says:

    Indeed, Michael, it was taken at EMI Studios the last week of February 1964 during the AHDN soundtrack sessions- a Dezo Hoffmann pic
    Tam, hope your move moves and may the road rise with you!

  3. Cara says:

    Ono sideboard or Powell sideboard ~ it’s all good! What a fab photo!

  4. Tammy says:

    Correct, i fixed the date, John’s goggles confused me, i thought he’d lost them by early 64.

  5. henry_the_horse says:

    That is Control Room Two. Martin is explaining something to the boys. Behind him and to Lennon’s left is Control Room 2 Siemens patchbay, where all connetions to the studio floor, to the echo amp room (Room 47), to the echo chambers and echo plates, and to the mixing desk were patched. To Lennon’s right is one of the Altec monitors for listening in the control room.

  6. henry_the_horse says:

    Probably 25th or 27th February 1964, either “You Can’t Do That” or “And I Love Her” recording sessions.

  7. Kwai Chang says:

    Thank you, everyone!
    I’m kind of surprised that this is 1964.
    He looks younger than AHDN…maybe it’s the specs
    BUT, were the Beatles really wearing formal attire to the recording sessions of their 3rd LP??? Why would they? Dress code at Abeey Road Studios? Brian made them? A technical mandate from Norman Smith???
    He doesn’t really look like he’s conquered the U.S.A.
    (That should be written on his forehead…but, I can’t see it)

  8. henry_the_horse says:

    The white coat imposition on engineers is actually quite mistold and understood. Sessions at E.M.I. Studios required a minimum of three operators: balance operator (e.g. Norman Smith, Geoff Emerick, Ken Scott, Phil McDonald), amp room engineer (e.g. Ken Townsend, Brian Gibson), and tape operator (e.g. Richard Langham, Ken Scott, Richard Lush). Amp room technicians were required to wear white coats at some point due to the nature of their job including greasing the recording machines, and carrying microphone cables which could dirty their jackets or shirts. These were actual electronic technicians which had to study electronics to get the job. Balance technicians were required to wear shirt and jacket. They were trained first at the Tape Library, then as Tape Operators (or “Button Pusher’s” as they were pejoratively called by balance technicians), then at Mastering technicians and finally as Balance techcians. During the mid-1960s, as pop sessions extended into the night, some rules were relaxed, and you can see tape operator Richard Lush using a simple t-shirt during the recording of Sgt. Pepper. In 1969, Alan Stagg was promoted to manager of E.M.I. Studios, and sought to bring some of the rules back, including tie for all operators and white coats for amp room technicians. Artists were, of course, above these rules. But by 1964 they were still quite new to the studios and complied to the normal job dress code conventions. Yet, the turtle neck sweater and jeans were fine, and you can see the Beatles wearing those during With the Beatles sessions. The hot summer 1964 sessions for Beatles for Sale show even Martin wearing just a short-sleave shirt, no tie and chinos.

  9. henry_the_horse says:


  10. Kwai Chang says:

    Thank you for the enlightenment. I do appreciate your knowledge and your time.
    It’s always nice to see someone you like doing the right thing. If they thought they should be wearing ties to the recording sessions AND, ACTUALLY DID so, then that is an admirable move. Any veering away from the dress code was probably based on creative instincts…
    like knowing that dress codes are for everybody…
    but, not for the goose that is laying golden eggs.
    The first egg wasn’t proof…but, the second one was!
    Now, can we record???
    Peace, KC

  11. henry_the_horse says:

    @Kwai Chan
    I did not intend my last post to be rude. Apologies if it came across like that. I always enjoy the humour and good mood you bring to this blog. And thank you for your kindness and appreciation. Best regards.

  12. Tammy says:

    Don’t worry, (don’t worry, don’t worry) Mr Horse, Kwai’s only looking for his finger in the snow :-) i can’t speak for Kwai, i can barely speak for myself, but i didn’t read any offence.

    I LOVE how you distill the tech talk for us Mr Horse (Yes Sir!, i like it!) i see the techo tomes that have come out related to the Fabs, and tho wonderous, they make my bottom twitch, such is their depth of technicality, but when you break it down, i can understand it, and even visualise it, ie, the recent b/w pic of John in the studio, which created such cool debate and discussion.

    Equally, i love Kwai’s spin on things, i’m a very visual person .. every comment on this blog is important, the frequent, and less frequent commenters.

  13. Tammy says:

    Okay .. so here are a couple of Tingle Queries:

    * When was the last time Lenny was spotted with the black frame specs?

    * When was the last pic of the ‘formal Fabs’ in the studio?

    * When was the last pic taken that shows the backline crew in coats and ties?

    This is open to anyone and everyone, i really am curious, tho lab coats can be functional, the whole tie thing seems so very Brittish :-)

  14. Kwai Chang says:

    Have no fear! I detected no rudeness…
    I think your comments are always razor sharp…which is how I love them.
    The Beatles story may get emotional at times…which only means somebody probably cut themselves on the facts. But, we still need accurate info…
    (your place is secure…have a nice weekend)

  15. Kwai Chang says:

    You can speak for me anytime…
    (but I still think that John looks ‘pre-AHDN’ here…
    he’s way too skinny…we may need to know:
    “when did they run out of Preludin?”)

  16. greg raymond says:

    didn’t john start wearing the granny glasses in 1966 around the time of the japanese tour? then decided to take them on full time when he did how i won the war?

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