![]() “ I’m Happy Just To Dance With You” showed off his vocal talents in the previous film, but it was a Lennon / McCartney composition. As he had done in their first movie “ A Hard Day’s Night,” Lester decided that a vocal contribution from George would show a degree of equality within the abilities of the group. Director Richard Lester chose songs that he thought would work in the film and George’s “I Need You” proved suitable. The only other pedal you may want to consider is an overdrive pedal run into a clean amp if you have a solid state amplifier and are struggling to achieve the right type of gain.Though new to songwriting, George Harrison was able to proudly offer two new compositions for possible inclusion in The Beatles' second motion picture, eventually to be titled “ Help!” With eleven songs submitted for consideration and seven spots open, odds were quite good that George would succeed in getting at least one of his songs onto the big screen.Īnd that’s exactly what happened. A compressor pedal can also be useful for many songs. For most songs though a fuzz pedal is not needed. One of the best songs to demonstrate this is “Revolution”. The Beatles aren’t well known for using loads of effects pedals and are only really associated with fuzz pedals. Make sure you also check out the brand-specific amp controls guide which is relevant to you, to get the most from your rig: Check out my complete guide to amplifier controls to learn how to adjust these controls and many more to get the best settings possible. Some amps also have other controls such as presence and contour. If your amp has a single EQ or tone control, adjust this so that it slightly favours treble as opposed to bass frequencies (around 3/4 the way to the right on most amps). With Fender amps you may need it even lower since they are already quite bright. Start with this on around 6 for most songs. The mids control adjusts the high-end frequencies so dictates how sharp, bright and crisp the tone is. ![]() If you have a Fender amp then you’ll likely need to turn this up higher to compensate for Fender’s scooped characteristic. The Vox range of amplifiers typically has quite high mids, particularly upper-mids so start with this on 6-7. The mids control adjusts the mid-range frequencies and affects how full the tone is. ![]() You may need this to be lower if you have an Orange or Marshall amp, and higher if you have a Fender amp. The bass control adjusts the low-end frequencies and needs to be kept relatively low for most of The Beatles’ songs so they don’t sound too loose and boomy. These settings adjust the different frequencies to control how bright and full the tone is. On some amplifiers you will have separate bass, mids and treble controls whereas some amplifiers combine these into a single setting usually called either EQ or Tone. It needs to sound overdriven at the very most as even the “heavier” songs are best described as fizzy and gritty compared to distorted. In both cases, you need to keep the gain under control as you don’t want it to ever sound distorted. However, if you have a tube amp then you’ll want to crank it so that it’s just on the edge of break-up for most songs. If you are using a solid state or modelling amplifier, then having the gain on around 3 to start with is a good idea. However for songs where you can hear a bit of grit such as “Day Tripper” or more overdriven songs like “Revolution” it will depend on your amp. For some songs such as “A Hard Day’s Night” and “Twist and Shout”, the gain will be quite low as the tone is relatively clean. The amount of gain you’ll need really depends on the song. Let’s take a look at all the main amplifier controls and where to start with them to get the classic Harrison and Lennon tones. If you are using a Vox amp then things will be a lot easier, but if you’re using another brand then you’ll need to keep some adjustments in mind. The Beatles are most synonymous with Vox amplifiers such as the AC30 which have a compressed, bright and chimey tone with plenty of mid-range. ![]()
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