A gallery of photos from
  • Bob calm in lobby at the Colonnade hotel the morning of our recording session
  • T minus 20 minutes... "Come on Bob…we gotta go NOW, so let's RUN to Abbey Road"
  • Control Room Studio 2. Tim's having second thoughts? So are the engineers? Anyone know where Tim's stomach went?
  • "Let's roll up our sleeves...I can do this" Nothing to it.
  • The vintage limiter arsenal. We also had several Fairchild compressors used by The Beatles (not pictured) that got the amazing Ringo drum sounds.
  • Mic preamps circa' ala Beatles that powered all the Neumann mics.
  • The panoramic view to THE Studio that 80% of the Beatles songs were recorded.
  • Crossing the "crossing" with our videographer about to get run over by a cab and a bus.
  • Series of photos from our video shoot walking into Abbey Road. It was cold but obviously Tim didn't notice.
  • Bob pretending to be cool and pretending to talk. It's okay because Tim was just pretending to be listening.
  • The money shot. Amazing how relaxed we look as this taken was prior to recording.
  • Tim first up.  Recording the drum tracks for "The Verdict".
  • Great shot of the vintage 1964 Ludwig kit identical to Ringo's. The microphone placement is similar to set up used for the "Revolver" sessions.
  • Tim talking with engineer Arne Akselberg in Abbey Road Studio 1. Many of the Beatles recordings are from Studio 1 but most noted are "All You Need Is Love" and "A Day In The Life."
  • This is the TG12345 (Mark1) EMI's Solid State Mixing Console used for recording The Beatles 'Abbey Road' album in 1969. This amazing historical monument was comfortably numb in Studio 3 Control Room. (Tim licked the faders.)
  •  Deep in concentration. Note the towel on the snare drum. From the Abbey Road cafeteria. Complete with the smell of today's lunch. No other towel gives the tight muted snare sound like an 'official' Abbey Road towel. Amazingly it was found in Tim's luggage after unpacking :)
  • Engineer Chris Bolster making critical adjustments
  • Tim calling on the spirits of Ringo
  • Ringo must have answered. All is well.
  • Locked in the groove with no click track. Tim was the click track.
  •  More drums. Great kit.
  • Bob, finally up and beginning to show his mettle.
  • Bob had ordered a Vox AC30 guitar amplifier to nail guitar sound from 1964. Bob refused to part with his Parker Fly guitar for the sessions. Amazing guitar that can emulate almost any type of vintage sound Mr. Martin asked for. Also easy on the back….light as a fly.
  • Bob 'channeling' George.
  •  Great shot of a prepared Studio 2 for "The Verdict" vocals.
  • "Fingers don't fail me now"
  • Note the use of all the vintage sound baffles to tune the room. (heard or not heard on all The Beatles records.)
  • The Vox amp and Neumann microphone. Nice couple don't you think?
  • Concentration at 110dB.
  • Notice how Bob has settled into this easy recording thing in a Studio that housed the Beatles for 8 years. Nothing to it right Bob?
  • Great shot of the microphones and the placement. The drum sounds were simply amazing.
  • Look at the kick drum mic. It is an AKG D20. Identical microphone and placement as Ringo would have had in the 1960's.
  • Bob laying down main vocal for "The Verdict". Do you see the butterflies coming out of Bob's mouth?
  • Nothing like a Neumann mic and a spit screen used by hundreds of famous vocalists.
  • Nailing it on the first take. What a recording machine.
  • Does London have the same tuning clock as the USA?
  • Chris giving Tim instructions how to play bass.
  • Tim realizing if you pluck the string it makes…noise.
  • Tim also found that if he turned his back from the control room that no one would discover he really was out of his drumming element.
  • Okay, finally the "McCartney Hofner" and Tim are now a team.
  • Knobs, knobs, and a few more knobs. Tim looking for the 'don't suck knob'.
  •  If you want to sound like McCartney it helps to have his bass and be…Paul. Tim and his cherished Hofner 500/1 violin bass.
  • Directly injected into the mixing console.  Sadly no bass amps were used in making this record. Next time we'll do it old school.
  • Nailing the 'open E' bass note.
  • Sort of nailing the next note on "The Verdict".
  • Giles Martin dropping into the session in Studio 2. After he met us he felt it proper to show us the way out.
  • Tim and Bob with our recording engineer Chris Bolster on the right and Giles Martin on the left being taller than Tim. Giles was so kind to spend a few minutes with us and acknowledge possible yet very remote family ties with Bob Martin.
  • Don't Blink vocals. Our engineer told Tim while making adjustments that this very microphone was John Lennon's favorite. Tim almost started crying on the spot.
  • Tim's 'other side' while singing "Don't Blink" in John's mic.
  • A year of lyric adjustments, resulted in Tim to have printed lyrics. To this day he still can't remember the words.
  • The second 'money shot'. After our recording session on the famous stairs in Studio 2.
  • In Abbey Road mic locker. Every famous recording session over the 75 years at Abbey Road began and ended with these microphones. The aura hovering in the area was amazing.
  • Microphones all tucked away in their beds.
  • Tim is either stoned or obviously in microphone heaven.
  • Bob's weapons of choice. His Parker Fly electric and a vintage Gibson J-160 acoustic identical to John and George's.
  • Tim pretending to play on a real Steinway piano used in hundreds of hit records from Studio 2.
  • Middle C sounds like a diminished B Flat. Must need tuning or someone who knows where Middle C is exactly amongst all the white and black things.
  • Now Bob is a player. Or he wants you to think that.
  • "Maybe 'The Verdict' should have piano…hey where did everyone go?"
  • Collapsed in total exhaustion on Studio 2 stairs.
  • After the sessions, a concert from Bob. "Strawberry Fields" and Norwegian Wood" live in Studio 2 on the Gibson J-160
  • Assuming the producer's position in Abbey Road Studio 3.
  • Chris Bolster hard at work mixing the session in Studio 3 (for a change of venue from all day in Studio 2. "Dark Side of the Moon" was recorded here…so we guessed it was good enough for Tim and Bob.
  • Our Protools session. Amazing amount of tracks for such simple music.
  • View from the artist couch in Studio 3.
  • Magic Gordon (Protools wiz) and Chris Bolster (recording engineer emeritus) delightfully happy that the long, long, long day has finally ended.
  • Tim calling his Mom to tell her he recorded at Abbey Road and would be late for dinner. This phone booth smelled just like a blue sani-can here in the States.
  • The day after the (in)famous session. Tim and Bob with a delightful amazing princess. Abbey Road's Colette Barber who graciously made this recording session possible at Abbey Road.
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