Eleanor Rigby (Speech Before Take 2)

Now, in fact on your, do you use vibrato on those, on those, um, chords?

Yes

We do

(Yes)

Just to produce it (It helps it)

To, yeah

You'd like it drier, would you?

Paul, what do you think of- where are you?

Paul, are you there?

Do you want them to use-

Yes?

Do you want them to use the chords without vibrato at all?

Do you want to hear it?

I can't hear you, what?

(We just need to release the sound)

I think he means the chor-, I think you mean the chords after G

I mean, let it be recorded

(Let it bе)

Uh, listen to this, Paul, this is without vibrato on the, on the, um, on thе rhythm bit, you know?

(Syndrome, that's what it is)

Three, four

G, B

[Instrumental]

[George Martin]

Now, same as you were with, with vibrato

Three, four

[Instrumental]

[Spoken Word]

Can you tell the difference?

Um, not much

Yes, there you are, you see, it sounds the same

It sounded better, without

Yeah, I thought it did actually

(Yes)

Sounds better without though

Especially if we make it more marcato too

It's a slightly more mechanized noise

Let's do it without

So you only hear the vibrato do you got anything to say

Okay

And even then unless it, unless it happens to be a long one, like for example you've obviously got to have vibrato on those bits

But even on the, uh, you know, your statements, Tony, for example, or the

Inner parts, "ba-da-da-da-da-dum" keep the vibrato, fairly narrow, not too wide a vibrato

That's it, that's it

I took violin for a term, and it killed me

Deadly, isn't it?

Deadly noise, deadly

Right, shall we go on