What kind of gear was there at Abbey Road at that time?
We had a desk with eight mic inputs, with very limited equalization, which was treble and bass no selective frequencies an echo chamber and a tape machine. That’s all we had. And then the Fairchild limiters came in, I think, around the time of Revolver. So there wasn’t a whole lot to work with, other than ingenuity, to come up with new sounds. No, and they became more demanding, sonically. They’d be saying, Well, we don’t want that sound. We want this, we want that. And I had nothing what could I do? I just had to conjure up these things in my head and try to experiment. They’d say, Geoff, we’re gonna do a guitar, we’re gonna do a piano. But we don’t want it to sound like a piano, we don’t want it to sound like a guitar. Can’t we make it sound different? Remember, when I was working with them, we didn’t have any great boxes to put on the guitars. So we tried to not use the same techniques from song to song so they all sounded totally different, particularly on Pepper. Things got pretty
