Eleanor Rigby (Speech Before Take 2)

[Spoken Word]
Now, in fact on your, do you use vibrato on those, on those, um, chords?
We do
Just to produce it (It helps it)
You'd like it drier, would you?
Paul, what do you think of, where are you?
Paul, are you there?
Do you want them to use
Yes
Do you want them to use the chords without vibrato at all?
Do you want to hear it?
I can't hear you, what?
I think he means the chor-, I think you mean the chords after G
I mean, better leave it
Uh, listen to this, Paul, this is without vibrato on the, on the, um, on the rhythm bit, you know?
Three, four

[Instrumental]

[Spoken Word]
Now, same as you were with, with vibrato
Three, four

[Instrumental]

[Spoken Word]
Can you tell the diffеrence?
Um, not much
Yes, thеre you are, you see, sounds the same
It sounded better without
Yeah, I thought it did actually
Sounds better without
Especially if we make it more marcato too
It's a slightly more [?]
Let's do it without
So you only hear the vibrato when you've got anything to say [?]
Okay
And even then unless it, unless it happens to be a long one, like for example you've obviously got to have vibrato on those [?] bits
But even on the, uh, you know, your statements, Tony, for example, or the inner parts, "ba-da-da-da-da-dum" keep the vibrato fairly narrow, not too wide a vibrato
That's it, that's it
I took violin for a term, and it killed me
Deadly, isn't it?
Deadly noise, deadly
Right, shall we go on