How Recording Studios Used Technology to Invoke the Psychedelic Experience: The difference in staging techniques in British and American recordings in the late 1960s. By Anthony Meynell, MA London College of Music Thesis submitted to The University of West London for the degree of Doctor of Philosophy May 2017 1 Abstract This thesis focuses on a time in the mid-1960s where practice in the studio changed from a formal arena where previously rehearsed songs were recorded, to a playground where sonic possibilities were explored and sound manipulation became normal practice. This abuse of technology and manipulation of reality became part of the creative process in the studio, providing soundscapes that resonated with the counter-cultural ethos of upsetting the established order, and were adopted by the mainstream during the 1967 ‘Summer of Love”. Following a discussion of current literature, practice as research is applied to demonstrate how interaction with historical technology reveals the performative nature of the tacit knowledge that created many of the aural effects under consideration. The research then focuses through the prism of two case studies, “Eight Miles High” recorded by The Byrds in Los Angeles in January 1966, and “Rain”, recorded by The Beatles in London in April 1966. Through re-enactment of these historical recording sessions, I recreate the closed envirnment of the 1960’s recording studio. By interacting with historical technology and following a similar structure to the original sessions, I investigate how the methodology was influenced by collaborative actions, situational awareness and the demarcation of roles. Post session video analysis reveals the flow of decision making as the sessions unfold, and how interaction with the technological constraints 2 recreates ‘forgotten’ techniques that were deemed everyday practice at the time and were vital to the outcome of the soundscapes. The thesis combines theory and practice to develop an understanding of how the engineers interacted with technology (Polanyi, 1966), often abusing the equipment to create manipulated soundscapes (Akrich and Latour, 1992), and how the sessions responded to musicians demanding innovation and experimentation, circumventing the constraints of established networks of practice (Law and Callon, 1986) during the flow of the recording session. (Ingold, 2013) 3 Acknowledgements Firstly, I would like to thank the UWL for providing me with the necessary financial support to undertake this study. I would also like to thank Professor Simon Zagorski-Thomas, my supervisor, for his constant encouragement, support and confidence in me over the past few years. In particular, I would like to thank him for not only attending the London recording session, but for going out of his way to travel to Nashville, Tennessee to share in the American recording experience. This project would never have been completed without the companionship and ceaseless support of Liz Pipe, who shared all the ups and downs of the PhD experience. I am particularly grateful to Buddy Woodward for arranging the Nashville recording, and all the musicians and engineers, Raun, Jack and Scott in Nashville, and James, Hugo, Paul and Ed in London. James, Philip and Kevin for keeping the band going so I could play live and be a real musician, and all the friends and colleagues at UWL, at seminars and elsewhere who shared in my enthusiasm for the project. Finally, I would like to thank Anna for patience, love and faith in my abilities, and Chanel for an excuse to step away from the desk and go for a walk sometimes. 4 Table of Contents Abstract ............................................................................................................... 2 Acknowledgements .......................................................................................................................................... 4 Table of Contents ............................................................................................... 5 Appendix on USB memory stick ..................................................................... 8 Video examples: ................................................................................................................................................ 8 Audio examples: ................................................................................................................................................ 9 Introduction ...................................................................................................... 10 Method of research ....................................................................................................................................... 15 Preliminary findings ...................................................................................................................................... 16 Differences in working practice ............................................................................................................... 18 Cultural Considerations .............................................................................................................................. 19 The emerging counter-culture ................................................................................................................. 20 Case studies ..................................................................................................................................................... 24 Chapter 1: The study of record production ................................................. 28 Insider perspectives ...................................................................................................................................... 43 The Byrds ........................................................................................................................................................... 43 The Beatles ....................................................................................................................................................... 45 Biographical perspectives ......................................................................................................................... 49 Collaborative working practice ................................................................................................................ 51 Implicit knowledge embedded in practice ......................................................................................... 58 Creative flow ..................................................................................................................................................... 65 Using actor network theory to study collective activity ............................................................... 73 Conclusion ......................................................................................................................................................... 88 Practice based research ................................................................................. 89 Recapturing historical practice ................................................................................................................ 98 Re-enactment ................................................................................................................................................ 101 Understanding in practice ........................................................................................................................ 105 Assembling the team ................................................................................................................................. 107 Chapter 2: Re-enactment of techniques .................................................... 111 The Psychedelic experience .................................................................................................................. 112 Visual Imagery and aural effects of the psychedelic experience ........................................ 117 The creation of aural effects by technical manipulation ......................... 119 Tape effects: ................................................................................................................................................... 120 Distortion effects: ......................................................................................................................................... 121 Reverberation effects: ............................................................................................................................... 122 Guitar effects: ................................................................................................................................................. 124 Sound capture: .............................................................................................................................................. 126 Chapter 3: The Byrds “Eight Miles High” re-enactment .......................... 127 Background ..................................................................................................................................................... 127 Recording Contract ..................................................................................................................................... 131 Songwriting ..................................................................................................................................................... 135 Ensemble Sound .........................................................................................................................................