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Follow him on Twitter at on Faceboo k.Īs mentioned earlier this week, Foo Fighters frontman Dave Grohl and producer Greg Kurstin have launched The Hanukkah Sessions, a festive music series where they cover a song–one for each night of Hanukkah–originally created by a Jewish musician.
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How Peter Jackson Made His State-of-the-Art World War I Documentary They Shall Not Grow Old: An Inside Lookīased in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Watch The Beatles Perform Their Famous Rooftop Concert: It Happened 50 Years Ago Today (January 30, 1969) Lennon or McCartney? Scientists Use Artificial Intelligence to Figure Out Who Wrote Iconic Beatles SongsĪrtificial Intelligence Program Tries to Write a Beatles Song: Listen to “Daddy’s Car” Peter Jackson Gives Us an Enticing Glimpse of His Upcoming Beatles Documentary The Beatles: Get Back Watch Paul McCartney Compose The Beatles Classic “Get Back” Out of Thin Air (1969) But if he could hear the recordings today, his surprise would surely be real. “Oh, you’re recording our conversation?” George Harrison at one point asks Lindsay-Hogg in a characteristic tone of faux surprise. Hence, in addition to Get Back‘s revelatory musical moments, its many once-private but now crisply audible exchanges between the Fab Four. “You teach the computer what a guitar sounds like, you teach them what a human voice sounds like, you teach it what a drum sounds like, you teach it what a bass sounds like.” Supplied with enough sonic data, the system eventually learned to distinguish from one another not just the sounds of the Beatles’ instruments but of their voices as well. “We devised a technology that is called demixing,” said Jackson.
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This means of keeping their words from Lindsay-Hogg and his crew worked well enough in the wholly analog late 1960s, but it has proven no match for the artificial intelligence/machine learning of the 2020s. On first listen, this renders many of their conversations inaudible, and probably by design: “If they were in a conversation,” said Jackson, they would turn their amps up loud and they’d strum the guitar.”
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John, Paul, George, and Ringo’s instruments share a single track with their voices - and not just their singing voices, but their speaking ones as well. Recorded in large part monaurally, these tapes presented a formidable production challenge. This also goes for the less obvious but no-less-impressive treatment given by Jackson and his team to the audio that came with the Let It Be footage. The kind of visual restoration and enhancement seen in Get Back was made possible by technologies that have only emerged in the past few decades - and previously seen in Jackson’s They Shall Not Grow Old, a documentary acclaimed for its restoration of century-old World War I footage to a time-travel-like degree of verisimilitude. Those who have seen both Linday-Hogg’s and Jackson’s documentaries will notice how much sharper, smoother, and more vivid the very same footage looks in the latter, despite the sixteen-millimeter film having languished for half a century. The vast majority of the material that comprises its nearly eight-hour runtime was originally shot in 1969, under the direction of Michael Lindsay-Hogg for the documentary that became Let It Be. But it has also become possible to de-age film itself, as demonstrated by Peter Jackson’s celebrated new docu-series The Beatles: Get Back. Much has been made in recent years of the “de-aging” processes that allow actors to credibly play characters far younger than themselves.