Chords for The Fab Faux Take A Lesson From Geoff Emerick

_ _ [F#m] _ _ _ _ _ _
_ _ _ [B] _ _ _ _ [E] _
_ [C] Okay, well first of all you [E] know that the Beatles changed everything.
The music [Em] itself was something [A] so refreshing.
[F#m] And the guy [G#m] that was [E] really behind the most stunning of the Beatles records [G#] was this guy, Jeff Emmerich.
And here we are today [G] in Legacy Studios [F#] recording with legendary [C#] engineer Jeff Emmerich.
[E] Well, the thing that Jeff Emmerich did [F#] was rise to [G#m] a challenge that was given him and [A] George Martin by the Beatles themselves saying,
you know, [B] _
okay we want this to sound like _ _ an old [Em] rat trap [B] of a [Bm] bed that [Em] I once slept on in my [C] childhood [C#] while I was eating a [E] sandwich.
He would have to come in and sensibly use his engineering [G#] expertise and [D] make that happen [B] for them.
Because they would go, okay [Bm] you take care of that, we're going to [C#] go out and have tea and we'll be back.
[Bm] But as soon as we get back we're expected to have it all again.
[B] So there's the [C#] challenge.
And he did, he made [F#m] it happen.
_ [E] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [A] _
_ _ _ _ _ _ _ _
_ _ _ _ [F] _ I think you got it.
Do you want to come in and listen to that? _ _ _ _
_ [E] Oh no, you're joking.
Okay, hang on.
[Em] Hang on, hang on, hang on.
It sounded great.
_ [F#m] _ _ [E] _ _ _ _
_ _ _ _ _ _ We actually went as far as putting [B] towels on the drums as you can see here.
[F#m] _ And that's [C#m] what Ringo used to do towards the [B] louder part of the gig.
[C#] _ It got the exact sound.
[F#m] _
_ _ [B] _ _ _ _ We'd go out [Em] watching him mic the [B] drums and talk [A] about how he mic'd the drums and how he compressed the drums and EQ'd the drums.
It's a dream come true.
[E]
They would say, you know, we want this bass drum to sound outrageous.
And they wouldn't even really technically know what that meant but they would hear it in their heads [Em] and then he would try to decipher,
okay what am I going to do to [B] make that happen?
Rich, we're going to take one but can you really hit that bass drum hard?
As hard as you can. _
Ooh, so that's how Ringo would do that.
[N] _ _ Okay, _ _ _ _ _ _ we're running.
_ He would take all [B] the [G#m] faders, crank them all the [C#m] way up, get the [E] volume way past legal limits,
[G#] take compression and put it way [E] past what [G#] was in the legal [E] guidelines dictated to him by EMI Records.
You know, when [B] nobody was looking he was just kind of, _ okay, crank it up.
_ _ [E] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F#m] _ _ _ [A] _
_ [F#] _ One more for me, one more for me, one more for me.
Oh man, I was smoking. _ _ _
You _ must say so yourself. _
_ _ _ _ _ _ _ _
[F] _ _ _ _ [E] _ _ _ _
_ _ _ _ _ _ _ _
[A] In the early days it was just an open sound but as they _ progressed and got more into production,
they wanted a quieter drum sound or a more muffled sound.
They pulled the [E] front bass drum [B] head off _ [A] and they mic'd the drums in a strange [E] way.
Jeff Embert was one of the first engineers to bring the microphones closer to the drums.
In the early days they would just mic the ambience, [A] get the ambience by micing [F#] the room.
[D] And Jeff said, [E] put the [G#] mic in the drum. _ _
_ _ _ _ Next thing you know, [F#m] massive drum sound, never [A] heard it.
We spent a long time [F#m] getting a drum sound but [E] it's real beatily and Jeff smiled and hopefully [A] his likeness [B] passing before his [G] eyes.
And of course the outrageous vocal sounds that he got for [Dm] John Lennon.
John wanted _ [F] _ himself [Fm] to sound like he was [G#] singing from a mountain top or something like [A#] that.
So what do you do [F] when a guy comes to you with that [G] kind of information?
[Gm] You have to really [A#] stretch your brain and stretch all the limits [F] of the technology that's [E] available.
_ _ _ _ _ _ _ _
_ _ _ _ [G#m] _ _ _ _
[N] Can we just do that as a double track? _ _
Yeah, scoop it on the one.
_ No, no, the whole line.
I'll do the whole line.
_ [E] _ _ _ _
_ _ _ _ _ _ [F#m] _ _
_ _ [F#] _ _ _ _ [E] _ _
_ _ _ _ _ _ [G#m] When the [G] planet's broken
_ _ [F#] It's needless to [B] say, it's extremely exciting for all of us in FabFlo to have this [F#] guy be a part of our little _ [B] goofy world
because he's the real deal [F#] and we're guys that are [D#] just emulating him.
So [B] it's pretty wonderful.
You can't recreate [F#] Beatle records or recreate what's already been done
[B] but the fact that [F#m] Michael has sponsored [F#] this to happen [B] _ _
offers [Bm] us a wonderful opportunity _
[B] _ into _ _ [F#] the process of making [C] these recordings.
_ _ [A] _ _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F#m] _ _ _ _
[A] _ _ [F#m] _ _ [E] _ _ _ _
_ _ _ _ You say you've seen seven wonders and your value's green
But you can't [F#m] see me _ _
[A] _ You [E] can't see _ _ me
_ _ _ [G#m] When your [G] pride's possession
_ _ [B] Start weighing [C#] _ down
_ [E] Look in my [F#m] direction
_ I'll be round, _ [B] I'll be round
_ _ [E] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ _ [E] _ _ _ _
_ _ _ _ [G#m] When your bird [G] is broken
_ _ [B] Will it bring [C#] you down?
_ [E] You may be [F#m] awoken
_ I'll be round, _ [B] I'll be round
[E] You tell me that you heard every sound there is
And your bird can swing
But you can't [F#m] hear me _ _
[A] _ You can't hear me
You can't [E] hear me _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F#m] _ _ _ _
[A] _ _ _ _ [E] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[A] _ _ _ _ _ _ _ _
_ _ _ That's got to be brilliant.
It is,