Three pioneering Beatles productions

Rain ( Paperback Writer, 1966)

Released two months before Revolver, Lennon’s hypnotic B-side previews several of the technical treats that defined the album. ADT makes an early appearance on John’s vocal track, which is then reprised in reverse in the closing maelstrom. Rain also demonstrates the textural effect of recording backing tracks at a faster tempo and then slowing them down (in this case some ten percent); the resulting drop in pitch reinforcing the song’s introspective, LSD-inspired lyrical theme.

A Day In The Life ( Sgt Pepper, 1967)

The orchestral cacophony that links the two song sections required some serious logistics, including a British debut for syncing two four-track recorders using a given frequency. Sgt Pepper’s showstopper is also a masterpiece of mixing, with Lennon’s ghostly vocals panned progressively around the stereo spectrum. Even in mono, the judicious use of tape echo adds distance to John’s reflective lyrics, in clever contrast with the greater presence of Paul’s more pressing themes.

I Am The Walrus ( Magical Mystery Tour, 1967)

Arguably The Beatles’ most intricate offering in terms of multitracking alone, this masterpiece required multiple reductions to accommodate the stunning string section and a host of extras. Manual syncing of two four-track machines was needed to reunite the final assortment of overdubs. Superb sound effects include the heavily chorused electric piano, Lennon’s deliberately distorted vocals, and the eccentric clip of Shakespeare’s King Lear, captured live from a BBC Third Programme broadcast.