A short but technically important mixing session for ‘Got To Get You Into My Life’ took place on 25 April 1966 in Room 65 at EMI Studios, Abbey Road, as work continued on material for Revolver.

The track had been recorded earlier in the month on 8 and 11 April. During this one-hour session, engineer Peter Vince prepared two mono mixes between 10am and 11am — notably without producer George Martin present.

These mixes were strictly functional, created as rough references for acetate pressings rather than final album versions. As such, they were left completely dry, with no added echo, compression, or studio effects.

The mixes were logged as versions one and two, although when the song received its proper mono and stereo mixes on 18 May 1966, the numbering was reused — reflecting their preliminary status within the production process.

While often overlooked, sessions like this highlight the iterative workflow behind Revolver, where even rough mixes played a key role in evaluating arrangements and guiding final production decisions.

FAQs

What was done during this session?

Two rough mono mixes of ‘Got To Get You Into My Life’ were created for reference purposes.

Who was present at the session?

Only engineer Peter Vince — no producer was in attendance.

Were these mixes used on the album?

No, they were temporary reference mixes without effects and not intended for release.

Why were acetate mixes needed?

They allowed The Beatles and production team to review recordings outside the studio.

When was the final mix completed?

The song was properly mixed on 18 May 1966.