find the current driver and export the audio without having to read a manual.
To create better continuity between the two Lennon songs in the same key, McCartney’s ditty was deftly removed and spliced at the end of the side, where it surfaces as an off-the-wall hidden track. It s a small changes that increases the usability of the software by leaps. On Side 2, Her Majesty originally sat between Mean Mr Mustard and Polythene Pam, as part of the extended medley. As luck would have it, speeding up the slower track neatly aligned the keys at the perfect tempo.Įven a crude cut could be used to artistic effect, as with Lennon’s instruction to abort I Want You (She’s So Heavy) at an apparently random point in the instrumental coda, so as to abruptly close Side 1 of Abbey Road. The challenge for producer George Martin and engineer Geoff Emerick was to splice the two takes, which, inconveniently, had been recorded at slightly different tempos and were also marginally out in pitch. Cutting and splicing was used in a wide range of Beatles contexts, most famously on Strawberry Fields Forever, where John Lennon favoured the first part of Take 7 but the latter part of Take 26.
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