Recording tape sped up or slowed down to alter pitch or tempo
'Misery' (1963) is the earliest Beatles song to use VariSpeed, which goes on to appear on 25 in all.
Song count per year
% of each member's catalogue with this tag (by writing credit)
| # | Title | Year | Album | Lead Vocal(s) | Notes |
|---|---|---|---|---|---|
| 1 | Misery | 1963 | Please Please Me | John, Paul | Piano recorded at half-speed, octave lower |
| 2 | A Hard Day's Night | 1964 | A Hard Day's Night | John, Paul | George Martin's piano part for the instrumental break was recorded at half speed then sped up to normal pitch for release - a documented technique… |
| 3 | In My Life | 1965 | Rubber Soul | John | Piano solo recorded at half speed, one octave lower; replayed at normal speed for harpsichord-like timbre |
| 4 | Rain | 1966 | Past Masters | John | Track cut fast, slowed on playback; vocal slow, sped up |
| 5 | Tomorrow Never Knows | 1966 | Revolver | John | Backing track sped up on playback; loops varied in pitch |
| 6 | Yellow Submarine | 1966 | Revolver | Ringo | Vocal slowed for deeper Ringo tone |
| 7 | Here, There and Everywhere | 1966 | Revolver | Paul | Lead vocal recorded slow/low and played back faster to lift pitch and create wispy quality |
| 8 | I'm Only Sleeping | 1966 | Revolver | John | Backing track slowed on playback; song sounds in E♭ minor though played in E minor |
| 9 | Good Day Sunshine | 1966 | Revolver | Paul | Piano solo recorded slow, sped up for ragtime feel |
| 10 | Strawberry Fields Forever | 1967 | Magical Mystery Tour | John | Take 7 sped up; take 26 slowed to match |
| 11 | Penny Lane | 1967 | Magical Mystery Tour | Paul | Backing track recorded slow to sound brighter on playback |
| 12 | She's Leaving Home | 1967 | Sgt. Pepper's Lonely Hearts Club Band | Paul, John | Strings recorded fast; played back slower for lower pitch |
| 13 | Lovely Rita | 1967 | Sgt. Pepper's Lonely Hearts Club Band | Paul | Played in E; tape ran slow so record sounds in E♭ |
| 14 | When I'm Sixty-Four | 1967 | Sgt. Pepper's Lonely Hearts Club Band | Paul | Recorded in C, sped up to D♭ to lift Paul's voice |
| 15 | Good Morning Good Morning | 1967 | Sgt. Pepper's Lonely Hearts Club Band | John | Rhythm track sped up |
| 16 | Lucy in the Sky with Diamonds | 1967 | Sgt. Pepper's Lonely Hearts Club Band | John | Heavily documented - Lennon's two lead-vocal overdubs were recorded at 45 and 48.5 cycles/sec (vs standard 50cps) to shift pitch/timbre; sources no… |
| 17 | Everybody's Got Something to Hide Except Me and My Monkey | 1968 | The Beatles (The White Album) | John | Tape at 43 Hz, raising key from D to E |
| 18 | Rocky Raccoon | 1968 | The Beatles (The White Album) | Paul | George Martin's honky-tonk piano solo was recorded with the tape running at half speed so it would play back faster/brighter (a 'chimey' tack-piano… |
| 19 | Don't Pass Me By | 1968 | The Beatles (The White Album) | Ringo | Vocal sped up after recording |
| 20 | Revolution 9 | 1968 | The Beatles (The White Album) | – | Some loops sped up or slowed |
| 21 | While My Guitar Gently Weeps | 1968 | The Beatles (The White Album) | George | Used with ADT on the lead-guitar mix |
| 22 | Here Comes the Sun | 1969 | Abbey Road | George | Acoustic guitar varispeeded slightly higher |
| 23 | Across the Universe (Wildlife version) | 1969 | Past Masters | John | Sped up; raised key from D to E♭ |
| 24 | Across the Universe | 1970 | Let It Be | John | Tape slowed ~semitone for Let It Be release |
| 25 | Real Love | 1996 | Reunion singles | John | Time-correction applied to demo, 3–4% compression/expansion |
Piano recorded at half-speed, octave lower
George Martin's piano part for the instrumental break was recorded at half speed then sped up to normal pitch for release - a documented technique…
Piano solo recorded at half speed, one octave lower; replayed at normal speed for harpsichord-like timbre
Track cut fast, slowed on playback; vocal slow, sped up
Backing track sped up on playback; loops varied in pitch
Vocal slowed for deeper Ringo tone
Lead vocal recorded slow/low and played back faster to lift pitch and create wispy quality
Backing track slowed on playback; song sounds in E♭ minor though played in E minor
Piano solo recorded slow, sped up for ragtime feel
Take 7 sped up; take 26 slowed to match
Backing track recorded slow to sound brighter on playback
Strings recorded fast; played back slower for lower pitch
Played in E; tape ran slow so record sounds in E♭
Recorded in C, sped up to D♭ to lift Paul's voice
Rhythm track sped up
Heavily documented - Lennon's two lead-vocal overdubs were recorded at 45 and 48.5 cycles/sec (vs standard 50cps) to shift pitch/timbre; sources no…
Tape at 43 Hz, raising key from D to E
George Martin's honky-tonk piano solo was recorded with the tape running at half speed so it would play back faster/brighter (a 'chimey' tack-piano…
Vocal sped up after recording
Some loops sped up or slowed
Used with ADT on the lead-guitar mix
Acoustic guitar varispeeded slightly higher
Sped up; raised key from D to E♭
Tape slowed ~semitone for Let It Be release
Time-correction applied to demo, 3–4% compression/expansion
Updated
Software
Waves Abbey Road Vinyl
Waves Audio
Book
All You Need Is Ears
George Martin
Book
Here, There and Everywhere
Geoff Emerick
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