Wednesday 25 October 1967 | Recording, mixing and editing | Studio Two, EMI Studios, Abbey Road, London
On 25 October 1967, work at EMI Studios brought together two different production tasks: mono mixing and editing of “The Fool On The Hill”, and reduction mixes followed by a bass overdub for “Hello, Goodbye”.
The session ran from 7pm to 3am, crossing into the early hours of Thursday 26 October. George Martin produced, with Ken Scott engineering. The date is conventionally indexed to the evening on which the session began.
Both songs belonged to the Beatles’ late-1967 creative period, but the work was not interchangeable. One task combined existing recordings into mono and shortened a song; the other created space for further recording.
25 October 1967: the essential session facts
| Session date | Wednesday 25 October 1967, continuing overnight |
|---|---|
| Time | 7pm–3am |
| Studio | Studio Two, EMI Studios, Abbey Road |
| Producer | George Martin |
| Engineer | Ken Scott |
| The Fool On The Hill | Mono remixes 10–12, followed by editing |
| Source tapes for the mix | Take 6 basic recording and take 7 flute tape |
| Reported edit length | 4 minutes 25 seconds reduced to 3 minutes |
| Hello, Goodbye working title | Hello Hello |
| Reduction attempts | Takes 18–21, from take 17 |
| New recording | Paul McCartney’s bass overdub onto take 21 |
The Fool On The Hill: bringing two tapes together
The first task was the preparation of three mono mixes, numbered 10, 11 and 12, of “The Fool On The Hill”. The flute parts added on 20 October were on a separate tape from the main recording.
To combine the material, the production team used two four-track machines running together: take 6 supplied the basic track, while take 7 supplied the flute recording.
The take numbers therefore refer to separate recorded sources being combined. They should not be read as evidence that the flautists returned to play three new performances on 25 October.
Working with separate tape machines was a practical solution to the limits of the recording setup. The account supports the use of the two tapes, but does not establish a modern automated synchronisation system or justify inventing a detailed account of each adjustment made at the machines.
Editing the mono version
After mixing, “The Fool On The Hill” was shortened from an initial length of 4 minutes 25 seconds to 3 minutes. Detailed session listings identify the edit as being made from mono remix 12.
Mixing and editing are related but distinct actions. Mixing brought the recorded elements together; editing changed the length and structure of the resulting version.
The earlier length is not an alternative commercial running time to assign casually to every release of the song. Here it describes the longer version before the edit reported for this session.
For an earlier stage in the song’s development, read our recording and mixing article for 25 September 1967. The shared day of the month should not obscure the month between those two sessions.
Hello Hello: the working title of Hello, Goodbye
The other song was still being logged as “Hello Hello”, the working title of “Hello, Goodbye”. These are not two separate compositions in the session record.
The existing recording, take 17, was reduced through four attempts numbered 18, 19, 20 and 21. Take 21 became the basis for the new bass overdub.
A reduction mix combines previously recorded tracks onto fewer tracks, making room for further additions. It is not necessarily a final mono release master, even though both activities involve mixing recorded material.
That distinction prevents a common misunderstanding: the four attempts numbered 18–21 were not four fresh full-band performances of the song.
Paul McCartney’s bass overdub
After the reduction work, Paul McCartney added bass guitar to take 21. This was the new instrumental recording highlighted in the session account.
Further bass work followed on 2 November 1967. For that reason, the 25 October entry is best described as a significant recording and reduction-mix stage, rather than an unqualified statement that every part of the released recording was finished that night.
It also explains why a session can combine “recording”, “mixing” and “editing” in one heading. Those words describe different jobs across two songs, not three names for the same process.
George Martin and Ken Scott in Studio Two
George Martin and engineer Ken Scott oversaw a night that moved between assembling existing material and preparing the tape for an additional performance.
The session is a reminder that the finished record emerged through several stages. A song could have a substantial basic recording yet still need orchestral parts, reductions, overdubs, mono mixing and editing before its production history was complete.
The contrast between the two songs is especially useful here. “The Fool On The Hill” required the flute tape to be incorporated into its mono presentation, while “Hello, Goodbye” required more space for bass recording.
The session in sequence
- Prepare mono remixes 10–12 of “The Fool On The Hill”, combining the basic recording and flute tape.
- Edit the song from the reported 4-minute-25-second length to approximately 3 minutes.
- Make reduction attempts 18–21 of “Hello Hello”, using take 17.
- Add Paul McCartney’s bass part to take 21.
This sequence follows the session account. It does not assign an exact clock time to each task within the 7pm–3am booking or claim that every Beatle was present for every stage.
Location map: EMI Studios, Abbey Road
The map identifies the studio complex in London. The work described here took place in Studio Two; a present-day map does not show the 1967 equipment layout or imply visitor access to the recording room.
Frequently asked questions
Where did the Beatles’ 25 October 1967 session take place?
In Studio Two at EMI Studios, Abbey Road, London, from 7pm to 3am the following morning.
Who produced and engineered the session?
George Martin was producer and Ken Scott was engineer.
Why were two tape machines needed for The Fool On The Hill?
The basic recording and the flute parts were on separate four-track tapes, which had to be played together for the mix.
How was The Fool On The Hill edited?
After mono mixing, the reported length was reduced from 4 minutes 25 seconds to approximately 3 minutes.
What was Hello, Goodbye called in the session records?
Hello Hello. Reduction attempts were numbered 18–21, and Paul added bass to take 21.
Was Hello, Goodbye completely finished that night?
It should not be described that way without qualification, because further bass work followed on 2 November 1967.
Continue exploring: The Fool On The Hill, 25 September 1967 · George Martin’s story · On This Day in Beatles History.
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