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The Beatles - A Day in The Life: December 6, 1966 - 0 Comments

Recording: Christmas radio messages, When I’m Sixty-Four

Studio Two, EMI Studios, London

The Beatles remained public champions of the "Pirate" radio stations which operated from ships moored off the British coastline.

The Beatles recorded the first song for Sgt. Pepper's Lonely Hearts Club Band on this day, along with Christmas message for pirate stations Radio London and Radio Caroline.

The session took place from 6.45pm, and ended at 1.50am the following morning. The Christmas messages were the first to be recorded.

The previous year The Beatles had recorded seasonal greetings for pirate stations from their dressing rooms while on tour. In December 1966, having finished touring, they agreed to record new messages in the studio. They were scripted spoken-word items, some of which had a simple Mellotron backing.

Four of the messages, one from each Beatle, were incorporated into the outtake of Christmas Time Is Here Again which was included on the 1995 single "Free As A Bird".

The main purpose of the session, however, was the recording of the basic track of McCartney's song When I'm Sixty-Four. Two takes were recorded with McCartney on bass guitar and Ringo Starr on drums, with some electric guitar performed by either Lennon or Harrison towards the end.

Both of the takes were complete, with the second considered the best. McCartney then overdubbed a piano part before the session came to a close.

 

The Beatles - A Day in The Life: December 5, 1966 - 0 Comments

The Beatles in-between recording at EMI Studios in London.

The Beatles - A Day in The Life: December 29, 1966 - 0 Comments

Recording, mixing, editing: When I’m Sixty-Four, Strawberry Fields Forever, Penny Lane

Studios Two and Three, EMI Studios, Abbey Road

Work took place on three different songs on this day, during three different sessions. The songs were When I'm 64, Strawberry Fields Forever and Penny Lane.

The first session took place in the control room of Studio Three from 2.30-4.45pm. Four mono mixes of When I'm Sixty-Four were made, numbered 4-7. Mix number six was intended for the US market, and seven for the UK, but neither was used. Instead a new mono mix was made on the following day, rendering all these redundant.

Also for the US market, a tape copy was made of the December 22nd mono mix of Strawberry Fields Forever. In the second scheduled session, which began immediately after the first at 4.45pm and ended at 5.40pm, stereo mixes of the song were made.

The new mixes again required matching the tempos and keys of the two recorded versions, as George Martin and Geoff Emerick had done in the previous session. The first mix was of take seven, followed by one of take 26, followed by an edit of the two which was labelled remix three.

The results were deemed unsatisfactory, so a fourth mix was made of take 26. This was combined with the beginning of mix one to create a final stereo mix, numbered five.

In Studio Two between 7pm and 2.15am the following morning,Paul McCartney worked without the other Beatles on the first takes of Penny Lane. At this stage the song was known as Untitled, although McCartney had been speaking about writing a song titled Penny Lane since at least November 1965.

The recording of Penny Lane was almost as complex as for Strawberry Fields Forever. To begin with, McCartney laid down six takes of the piano backing track, and onto track two of the final attempt he added a second piano to the latter half of each verse. Track three was filled with a third piano part as well as tambourine, both of which were recorded via microphone signals fed through a Vox guitar amplifier.

The final track of the tape was filled with effects, some vari-speeded, including percussion, high two-note chords from a harmonium, and cymbals.

Work on Penny Lane continued on December 30, 1966 and into the following year.

Source: The Beatles Bible

 

The Beatles - A Day in The Life: December 4, 1966 - 0 Comments

The Beatles in-between sessions at Studio One/Two in London

The Beatles - A Day in The Life: December 3, 1966 - 0 Comments

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The Beatles - A Day in The Life: December 2, 1966 - 0 Comments

Mono mixing and editing of "Pantomine - Everywhere It's Christmas", overseen by Tony Barrow between 9:00 am and 12:00 noon. The finished production was rushed to Lyntone Records for the pressing of the flexi-discs.

 

The Beatles - A Day in The Life: December 1, 1966 - 0 Comments

The Beatles - A Day in The Life: November 30, 1966 - 0 Comments

Strawberry Fields Forever

The Beatles - A Day in The Life: November 29, 1966 - 0 Comments

Studio Two, EMI Studios, London

Recording, mixing: Strawberry Fields Forever

The Beatles recorded two more takes of Strawberry Fields Forever, numbered 5 and 6, during this 2.30-8pm session.

The group began with lengthy rehearsals and discussions, before recording take 5. The performance was a false start, however, but take 6 was successfully performed through to the song's close.

The Beatles used the same arrangement as the previous day's session, with a rhythm track featuring Paul McCartney on Mellotron, John Lennon and George Harrison on electric guitars, and of course, Ringo Starr on drums.

Take 6 was a strong performance with an extended coda. Lennon added slowed down vocals and McCartney recorded a bass guitar part, and a reduction mix was made to free up two tracks on the tape. This mix became take 7.

John Lennon then double-tracked his vocals during the choruses, and an overdub using the Mellotron's guitar and piano settings was the last item to be recorded. Three rough mono mixes, numbered 1-3 were then made and four acetate discs were pressed for The Beatles' reference.

The group later remade the song, but the first minute of take 7 was eventually incorporated into the final release.

 

The Beatles - A Day in The Life: November 28, 1966 - 0 Comments

Studio Two, EMI Studios, London

Recording, mixing: Strawberry Fields Forever

The Beatles recorded three more takes of Strawberry Fields Forever during this 7pm-1.30am session.

They chose to arrange the song differently from the first session for the song, and lowered the key from C to A major. The three takes were numbered 2-4.

The Beatles' first task was to complete a satisfactory rhythm track. Take two followed a similar arrangement to the first session's, with a Mellotron introduction performed by Paul McCartney, John Lennon and George Harrison on electric guitars, and Ringo Starr on drums and maracas. It ended after the final chorus.

Take three broke down during the introduction, after Lennon complained that the Mellotron was too loud. The fourth take was complete, however, and featured Harrison using the Mellotron's guitar setting to add slide guitar and Morse code-style notes. Lennon then added lead vocals, with the tape running faster so it was slower upon playback, and McCartney added a bass guitar part to the final track.

Take four was marked 'best', albeit temporarily. Three rough mono mixes were then made for reference purposes, but after further reflection, The Beatles decided to re-record the rhythm track on the following day.

The Beatles - A Day in The Life: November 27, 1966 - 0 Comments

Broadwick Street, London

Lennon played the role of Dan, a doorman at the fictional nightclub Ad Lav. The name was a spoof on the Ad Lib Club, a venue often frequented by The Beatles and other leading showbusiness personalities of the mid-1960s. Dan the doorman

Lennon wore a uniform complete with top hat and gloves, and for perhaps the first time in public wore the wire-framed granny glasses that would soon become his trademark.

The 51-second sketch was filmed early in the morning on London's Broadwick Street, beside the entrance to the underground men's toilet on the corner of Hopkins Street. It also featured Peter Cook as the Duke and Duchess of Windsor.

The Beatles - A Day in The Life: November 26, 1966 - 0 Comments

Strawberry Fields Forever was one of The Beatles' most complicated recordings. With George Martin they spent some time working on the arrangement, going through various re-makes and spending an unprecedented 55 hours of studio time completing the song.

The Beatles - A Day in The Life: November 25, 1966 - 0 Comments

Recording: Pantomime: Everywhere It’s Christmas

The Beatles' fourth Christmas record, Pantomime: Everywhere It's Christmas, was recorded on this day at the first floor demo studio owned by their publisher, Dick James.

Each member of The Beatles sang on the recording, with Paul McCartney also playing piano. A number of songs and skits were recorded, which were edited into a 10-part, six-minute piece on 2 December. The songs included Everywhere It's Christmas, Orowainya, and Please Don't Bring Your Banjo Back, and the sketches included Podgy The Bear And Jasper, and Felpin Mansions.

The Beatles' Fourth Christmas Record – Pantomime: Everywhere It's Christmas was edited by The Beatles' press officer at Abbey Road on December 2, 1966, and was sent to members of The Beatles' UK fan club on December 16th.

The Beatles - A Day in The Life: November 24, 1966 - 0 Comments

Studio Two, EMI Studios, London

And so the beatles entered the new phase of their career! No longer the tidy, smiling "Fab Four", singing boy/girl pop songs on stage. Now they were the casually dressed, sometimes mustacioed, not always smiling Beatles who would make the greatest ever batch of rock recordings at and for their merest whim, strictly not for performing on stage.

John, Paul, George and Ringo had scarely spent a day together since early September.  Now they had decided to reunite and begin recording a new album. "Strawberry Fields Forever" captured in one song much of what the Beatles had learned in the four years spent inside recording studios, and especially 1966, with its backwards tapes, vari-speeds and uncommon musical instruments. And it could only have been born of a mind (John Lennon's) under the influence of outlawed chemicals. Strawberry Field is a Salvation Army home in Liverpool, around the corner from where John was brought up. He went there for summer fetes and had called the surrounding wooded area Strawberry Fields. "Strawberry Fields Forever" evoked those childhood memories through a dreamy, hallucinogenic haze. It was, and remains, one of the greatest pop songs of all times.
It is also known, correctly, for being among the most complicated of all Beatles recordings, changing shape not once but several times. Take one, recorded from 7:00 pm to 2:30 am in this first session, was certainly far removed from the final version, the only similarity being a mellotron introduction. (The precursor of the synthesier, this instrument contained tapes which could be "programmed" to imitate another instrument, in this instance a flute.) By 2:30 am take one sounded like this: simultaneous with the mellotron, played by Paul, was John's first lead vocal, followed by George's guitar, Ringo's distinctive drums (with dominant use of tomtoms), maracas, a slide guitar piece, John's double-tracked voice and scat harmonies by John, Paul and George. The song came to a full-ending with the mellotron. The entire take was recorded at 53 cycles per second so that it sped up on replay, but still it lasted only 2 minutes, 43 seconds.

Source: The Complete Beatles Chronicle - Mark Lewisohn

The Beatles - A Day in The Life: November 23, 1966 - 0 Comments

Leonard Bernstein analyzes the Beatles in a Young People's Concert

Leonard Bernstein, who took an ongoing interest in the Beatles, analyzes the harmonic structure of "Norwegian Wood" in the televised Young People's Concert, "What is a Mode?"

The Beatles - A Day in The Life: November 22, 1966 - 0 Comments

The Beatles are getting ready to record a very famous tune. Can anyone guess?

The Beatles - A Day in The Life: November 21, 1966 - 0 Comments

Nothing to mention on this day 50 years ago.

The Beatles - A Day in The Life: November 20, 1966 - 0 Comments

Brian Epstein holds a party for The Four Tops in London

The Four Tops had performed at the Savile Theatre in London on 13 November 1966. The venue was owned by The Beatles' manager Brian Epstein, and the backdrop for the performance was said to have been designed by Paul McCartney.

Seven days later Epstein held a party for The Four Tops at his home at 24 Chapel Street, London. It was attended by John Lennon and George Harrison.

 

The Beatles - A Day in The Life: November 19, 1966 - 0 Comments

Paul McCartney has the idea for Sgt Pepper’s Lonely Hearts Club Band

Paul McCartney had flown to France on November 6, 1966 and met Mal Evans in Bordeaux on November 12 before flying to Kenya for a safari holiday.

In Kenya they were joined by McCartney's girlfriend Jane Asher, and the three of them visited the Ambosali Park at the foot of Mount Kilimanjaro, and stayed at the Treetops Hotel in Aberdare National Park.

They spent their final night on 18 November at the YMCA in Nairobi before flying back to London on this day. During the flight McCartney had the idea for Sgt. Pepper's Lonely Hearts Club Band.

We were fed up with being the Beatles. We really hated that fucking four little mop-top boys approach. We were not boys, we were men. It was all gone, all that boy shit, all that screaming, we didn't want any more, plus, we'd now got turned on to pot and thought of ourselves as artists rather than just performers. There was now more to it; not only had John and I been writing, George had been writing, we'd been in films, John had written books, so it was natural that we should become artists.

Then suddenly on the plane I got this idea. I thought, Let's not be ourselves. Let's develop alter egos so we're not having to project an image which we know. It would be much more free. What would really be interesting would be to actually take on the personas of this different band. We could say, 'How would somebody else sing this? He might approach it a bit more sarcastically, perhaps.' So I had this idea of giving the Beatles alter egos simply to get a different approach; then when John came up to the microphone or I did, it wouldn't be John or Paul singing, it would be the members of this band. It would be a freeing element. I thought we can run this philosophy through the whole album: with this alter-ego band, it won't be us making all that sound, it won't be the Beatles, it'll be this other band, so we'll be able to lose our identities in this.

Me and Mal often bantered words about which led to the rumour that he thought of the name Sergeant Pepper, but I think it would be much more likely that it was me saying, 'Think of names.' We were having our meal and they had those little packets marked 'S' and 'P'. Mal said, 'What's that mean? Oh, salt and pepper.' We had a joke about that. So I said, 'Sergeant Pepper,' just to vary it, 'Sergeant Pepper, salt and pepper,' an aural pun, not mishearing him but just playing with the words.

Then, 'Lonely Hearts Club', that's a good one. There's lot of those about, the equivalent of a dating agency now. I just strung those together rather in the way that you might string together Dr Hook and the Medicine Show. All that culture of the sixties going back to those travelling medicine men, Gypsies, it echoed back to the previous century really. I just fantasised, well, 'Sergeant Pepper's Lonely Hearts Club Band'. That'd be crazy enough because why would a Lonely Hearts Club have a band? If it had been Sergeant Pepper's British Legion Band, that's more understandable. The idea was to be a little more funky, that's what everybody was doing. That was the fashion. The idea was just take any words that would flow. I wanted a string of those things because I thought that would be a natty idea instead of a catchy title. People would have to say, 'What?' We'd had quite a few pun titles - Rubber Soul, Revolver - so this was to get away from all that.

The Beatles began recording the Sgt Pepper title track on February 1, 1967.

The Beatles - A Day in The Life: November 18, 1966 - 0 Comments

Yoko Ono

 

The Beatles - A Day in The Life: November 17, 1966 - 0 Comments

Nothing newsworthy today. What do you think the Beatles were doing?

The Beatles - A Day in The Life: November 16, 1966 - 0 Comments

Nothing much happened to make the news this day 50 years ago.

The Beatles - A Day in The Life: November 15, 1966 - 0 Comments

Moustaches were catching like the flu- not only do the Fab Four grow them, Beatles assistants Mal Evans and Neil Aspinall grow 'em to.

The Beatles - A Day in The Life: November 14, 1966 - 0 Comments

The Beatles each doing their own thing today.

The Beatles - A Day in The Life: November 13, 1966 - 0 Comments

Nothing notable happened on this day 50 years ago.

The Beatles - A Day in The Life: November 12, 1966 - 0 Comments

Paul McCartney meets Mal Evans in Bordeaux, France

One week after beginning his road trip across France, Paul McCartney had a rendezvous with The Beatles' roadie Mal Evans in Bordeaux.

Prior to meeting Evans, McCartney spent the night in a Bordeaux club. Wearing the moustache and glasses disguise he had prepared to allow him to travel incognito, the club staff wouldn't let him in.

I looked like old jerko. 'No, no, monsieur, non' - you schmuck, we can't let you in! So I thought, Sod this, I might as well go back to the hotel and come as him! So I came back as a normal Beatle, and was welcomed in with open arms. I thought, Well, it doesn't matter if I've blown my cover because I'm going to meet Mal anyway, I don't have to keep the disguise any longer. Actually, by the time of the club I'd sort of had enough of it. Which was good. It was kind of therapeutic but I'd had enough. It was nice because I remembered what it was like to not be famous and it wasn't necessarily any better than being famous.

It made me remember why we all wanted to get famous; to get that thing. Of course, those of us in the Beatles have often thought that, because we wished for this great fame, and then it comes true but it brings with it all these great business pressures or the problems of fame, the problems of money, et cetera. And I just had to check whether I wanted to go back, and I ended up thinking, No, all in all, I'm quite happy with this lot.

Paul McCartney
 

McCartney met Evans at the Saint-Eloi catholic church, on Rue Saint-James in Bordeaux.

We met up, exactly as planned, under the church clock. He was there. I figured I'd had enough of my own company by then. I had enjoyed it, it had been a nice thing. Then we drove down into Spain but we got to Madrid and we didn't know anyone; the only way would have been to go to a club and start making contacts. So we thought, This is not going to be any fun, and rang the office in London, and booked ourselves a safari trip.
Paul McCartney
 

The pair drove from Bordeaux to Spain, making films on their journey. They had hoped to meet John Lennon in Almería, but filming for How I Won The War had ended and he had returned to England.

Instead they decided on a safari holiday and flew to Kenya. McCartney arranged to meet his girlfriend Jane Asher there, and in Seville had someone drive his Aston Martin DB5 back to London.

McCartney and Evans flew from Seville to Madrid, and from there to Nairobi. They had a 10-hour stopover in Rome, during which they did some sightseeing.

Upon their arrival in Kenya they toured Ambosali Park, overlooked by Mount Kilimanjaro, and stayed at the Treetop Hotel, the royal family's Kenyan base. The holiday came to a close on 19 November, when McCartney, Asher and Evans flew from Nairobi back to London.

The Beatles - A Day in The Life: November 11, 1966 - 0 Comments

The Beatles each busy on their own.

The Beatles - A Day in The Life: November 10, 1966 - 0 Comments

Mixing, editing: This Boy, Day Tripper, We Can Work It Out

Room 65, EMI Studios, Abbey Road
Engineer: Peter Bown

This was the last of four mixing sessions to prepare stereo versions of Beatles songs ahead of the UK compilation album A Collection Of Beatles Oldies on December 9, 1966.

Once again George Martin was not present, so the session was led by balance engineer Peter Bown. The first song worked on was "This Boy", which was the result of a misunderstanding. During a telephone call from EMI's headquarters at London's Manchester Square,  Bad Boy was mistakenly called This Boy.

This led to stereo mixes being made from takes 15 and 17, which were edited together towards the end of the session. They were unnecessary, however, and the stereo mix of Bad Boy from May 10, 1965 was used for the album.

Day Tripper was the second song to receive a stereo mix. This replaced an earlier one made on October 26, 1965 for The Beatles' US and Australian record labels.

The third and final song was "We Can Work It Out". A previous stereo mix had been created on November 10, 1965, but was crapped on August 9, 1966.

The Beatles - A Day in The Life: November 9, 1966 - 0 Comments

The ‘Paul is dead’ myth

 The 'Paul Is Dead' myth began in 1969, and alleged that Paul McCartney. The Beatles are said to have covered up the death, despite inserting a series of clues into their songs and artwork. The story goes that at 5am on Wednesday - 9 November 1966, McCartney stormed out of a session for the Sgt. Pepper's Lonely Hearts Club Band album, got in to his Austin Healey car, and subsequently crashed and died.

Somewhat improbably, McCartney was said to have been replaced by a lookalike, called variously William Shears Campbell or William Sheppard. William Campbell allegedly became Billy Shears on Sgt Pepper, while William Sheppard was supposedly the inspiration behind "The Continuing Story of Bungalow Bill" (actually an American named Richard Cooke III).

In fact, the crash never happened. Between 6 and 19 November 1966, McCartney and his girlfriend Jane Asher were on holiday, travelling through France and Kenya.

However, a couple of relevant incidents did take place. On December 26, 1965 McCartney crashed his moped, resulting in a chipped tooth and a scar on his top lip, which he hid by growing a moustache.

Additionally, on 7 January 1967 McCartney's Mini Cooper was involved in an accident on the M1 motorway outside London, as a result of which it was written off. However, the car was being driven by a Moroccan student named Mohammed Hadjij, and McCartney was not present.

Hadjij was an assistant to London art gallery owner Robert Fraser. The pair turned up at McCartney's house on the evening of 7 January, and were later joined by Mick Jagger, Keith Richards, Brian Jones and antiques dealer Christopher Gibbs.

The party decided to head to Jagger's home in Hertfordshire, before moving on to Redlands, Richards' Sussex mansion (and scene of his later drugs bust). McCartney travelled with Jagger in the latter's Mini Cooper, while Hadjij drove in McCartney's Mini.

The two cars became separated during the journey. Hadjij crashed McCartney's Mini and was hospitalised with injuries. The heavily customised car was highly recognisable, so rumours began circulating that McCartney had been killed in the incident.

The following month a paragraph appeared in the February 1967 edition of the Beatles Book Monthly magazine, headed "FALSE RUMOUR":

Stories about the Beatles are always flying around Fleet Street. The 7th January was very icy, with dangerous conditions on the M1 motorway, linking London with the Midlands, and towards the end of the day, a rumour swept London that Paul McCartney had been killed in a car crash on the M1. But, of course, there was absolutely no truth in it at all, as the Beatles' Press Officer found out when he telephoned Paul's St John's Wood home and was answered by Paul himself who had been at home all day with his black Mini Cooper safely locked up in the garage.

Although the magazine downplayed the incident, and claimed the car was in McCartney's possession.

The origins of the myth

Belief that Paul McCartney may have died in the mid 1960s began in 1969. The first known print reference was in an article written by Tim Harper which appeared in the 17 September edition of the Times-Delphic, the newspaper of the Drake University in Des Moines, Iowa.

Harper later claimed that he wasn't the original source for any of the claims in his articles. He said he was writing for entertainment purposes only, and said he got the information from a fellow student, Dartanyan Brown. Mr Brown is said to have got the story from a musician who had heard it on the Californian west coast, and that he also read the story in an underground newspaper.

The rumours gained momentum on 12 October 1969, after an on-air phone call to radio presenter Russ Gibb, a DJ on WKNR-FM in Michigan. The caller, identified only as 'Tom', claimed that McCartney was dead, and instructed Gibb to play Revolution 9 backwards, where the repeated "number nine" phrase was heard as "turn me on, dead man".

Listening to the show was Fred LaBour, an arts reviewer for student newspaper The Michigan Daily. LaBour used clues from Gibb's programme along with others he had invented himself - including the name of William Campbell, the alleged replacement for McCartney.

I made the guy up. It was originally going to be Glenn Campbell, with two Ns, and then I said 'that's too close, nobody'll buy that'. So I made it William Campbell.

The Michigan Daily published it on 14 October, under the title McCartney Dead; New Evidence Brought To Light. Although clearly intended as a joke, it had an impact far wider than the writer and his editor expected.

Shortly afterwards, Russ Gibb co-produced a one-hour special called The Beatle Plot, giving the rumour greater prominence; by then it was well on its way to become a national, then international, talking point, inspiring fans to pore over their albums for further clues.

A British version of the rumour is believed to have existed prior to the American one, with fewer details. The sources are unknown, but the notion of McCartney dying in a road accident appears to have originated there.

The Beatles' responses

Although The Beatles and their press office at Apple were initially bewildered and somewhat annoyed by the story's refusal to die away, there is evidence that the group members themselves found it amusing.

In an edition of Life magazine dated 7 November 1969, McCartney reassured fans that "Rumours of my death have been greatly exaggerated," paraphrasing Mark Twain. "However," he continued, "if I was dead, I'm sure I'd be the last to know."

The magazine's cover featured Paul and Linda with their children, in a picture taken on their Scottish farm. The cover featured the words "The case of the 'missing' Beatle - Paul is still with us". Shortly after the issue went on sale the rumours started to decline.

In his revealing Rolling Stone interview in 1970, John Lennon was asked about the death story. He responded in a typically forthright fashion:

I don't know where that started, that was barmy. I don't know, you know as much about it as me... No, that was bullshit, the whole thing was made up. We never went for anything like that. We put tit-tit-tit in Girl. It would be things like a beat missing or something like that, see if anyone noticed - I know we used to have a few things, but nothing that could be interpreted like that.

Lennon referred to the myth in 1971's How Do You Sleep?, his vitriolic attack on McCartney from the Imagine album. The song contains the lines: "Those freaks was right when they said you was dead, the one mistake you made was in your head".

McCartney parodied the rumours with the title and cover or his 1993 album Paul Is Live. The artwork was based on the Abbey Road cover photograph; instead of the 28IF number plate, a car shows 51 IS instead. To reinforce the cycle of life, he is pictured being dragged across the famous zebra crossing by one of the offspring of his sheepdog Martha.

The Beatles - A Day in The Life: November 8, 1966 - 0 Comments

Mixing: She Loves You

Room 53, EMI Studios, Abbey Road
Engineer: Geoff

George Martin was not present for this third stereo mixing session for the UK compilation A Collection Of Beatles Oldies compilation, which was released on December 9, 1966, so balance engineer Geoff Emerick oversaw the work.

Two mixes of "She Loves You" were made during a 90-minute session. The original two-track tapes had been destroyed shortly after the song was recorded, so Emerick created a mock stereo version by slashing the treble frequencies from the left channel and removing the bass from the right.