due to appear at booksellers, worldwide, in June 2006. "He really knew it inside out, as a player and arranger." He is best known for his work with The Beatles and Pink Floyd. The story will be told by the legendary Norman Hurricane Smith, the Beatles' own engineer from their first EMI audition up to 1965's Rubber Soul including every single and album in between -- an amazing achievement and body of work by anyone's standards. "Up until the time when I became a sound engineer the other engineers would always use screens. Mr. Smith was the engineer on duty when the Beatles came into EMI studios for their first sound test, in 1962, and under company policy that meant he could stay with the group throughout its … "I never actually saw Syd taking drugs in the studio, but he had the kind of character that, even if he hadn't taken any, you'd think he was on drugs. They tried very hard to write material — I remember them writing a song about apples and oranges, which I dressed up and released as a single, and that sold about six copies. In fact, I remember recording a number — I can't now recall which one — and there had to be a drum roll, and of course he didn't have a clue what to do. "So, they were capable, but I had a great struggle with them after Syd Barrett went funny and left. "Although Smith was still able to dabble behind the console after moving into production, once he began working with an underground, London–based, psychedelic rock outfit known as the Pink Floyd in early 1967, he "had too many other things to worry about such as Syd Barrett". I was really getting nowhere.
"I mean, we heard nothing of John and Paul's songwriting ability. Of course, every sound engineer wants some kind of sound at source that he can then embellish and improve, but I got nothing out of The Beatles' equipment except for a load of noise, hum and goodness–knows–what. Paul found it pretty easy to sing, but John was always under a bit of strain, given the timbre of his voice. On March 3rd, the world of music lost one of its pivotal figures. Paul was a very great influence in terms of the production, especially in terms of George Harrison's guitar solos and Ringo's drumming. I mean, if we did, for instance, slam on a lot of bass, it would only be a problem when it got up to the cutting room, but at the same time we were all a little bit frustrated that we couldn't get certain kinds of sounds that we would have liked. He was the only one doing any writing, he was the only one who I as a producer had to convince if I had any ideas, but the trouble with Syd was that he would agree with almost everything I said and then go back in and do exactly the same bloody thing again! It's a terrific performance. The story will be told by the legendary Norman Hurricane Smith, the Beatles' own engineer from their first EMI audition up to 1965's Rubber Soul including every single and album in between -- an amazing achievement and body of work by anyone's standards. Control theory is a relatively new field in engineering when compared with core topics, such as statics, dynamics, thermodynamics, etc. It was almost like we had one producer up in the control room and another producer down in the studio, and of course John Lennon also knew what sounds he wanted.
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