GAME MAN Alex Rigopulos, a founder and the C.E.O. of Harmonix Music Systems. Big eyes (reflected from a photo in his Boston office) were watching. More Photos
GILES MARTIN WAS conjuring spirits, or perhaps summoning gods. The tools for this ritual included a pair of omnidirectional microphones, a digital mixing console and a hastily-procured set of teacups and saucers, but the magic was in the room itself. Studio Two at Abbey Road in London has changed very little since 1969, when Paul McCartney, John Lennon, Ringo Starr and George Harrison recorded together for the last time. The Steinway upright McCartney played on “Lady Madonna” still stands in one corner, its middle keys worn to the wood. Sound-absorbing quilts hang in wide stripes down the whitewashed brick walls. The view from the control room on the second level is much as it would have been for George Martin, Giles’s father, who oversaw the creation of nearly every Beatles album from this room. Giles held a slender finger to his lips, which turned up into a playful grin. He handed cups and saucers to three people nearby and mimed a sip. The others followed his lead, and a few feet away the microphones captured the small clattering sound of four people drinking tea.
NO. 1 SON Giles Martin, who oversaw the audio portion of The Beatles: Rock Band, in Abbey Road Studios. He is the son of George Martin, who oversaw most of the Beatles’ real-life audio. More Photos »
The odd recording session in March was one very small contribution to what Apple Corps — the company still controlled by McCartney, Starr and the widows of Lennon and Harrison — hopes will be the most deeply immersive way ever of experiencing the music and the mythology of the Beatles. The band that upended the cultural landscape of the 1960s is now hitching its legacy to the medium of a new generation: the video game.
The sound effects Martin recorded are not anything most people who play the game will notice consciously. The Beatles: Rock Band, which is to be released on Sept. 9, involves playing ersatz instruments in time with the band’s original music. Between songs, players will hear the group warming up and bantering in the studio. Martin combed through hundreds of hours of tape to find these clips, but the chatter, recorded directly into microphones, lacked the subtle echo and ambient noise you would have heard if you were actually in the studio at the time. So after laying down a sound bed of background noise, Martin played the original clips through a set of speakers on the studio floor and rerecorded them through his mikes, this time with all the ringing acoustics of the room. Through the control-room window, Martin stared into the empty studio as if his mind’s eye could put physical form to the disembodied sounds. Across the decades a guitar was tuned, a snare drum rattled and John Lennon warmed up his voice for a new song called “Come Together”: “He got teenage lyrics, he got hot rod baldy.’’
Martin is a youthful 39, with his father’s patrician accent but also a rakish demeanor that more recalls the young Lennon. “When they first approached me, I thought, Do I really want to do a plastic-guitar Beatles game?” he said. He was persuaded to do so, he told me, after seeing how the games intensify people’s engagement with music. “In the same way we listened to records over and over again,” he observed, “because I don’t think kids do that anymore. They’ve got too much other stuff competing for their attention.”
THE EVENTS THAT The Beatles: Rock Band recreates and reimagines are not just stepping stones in the career of a band but transformational shifts in the history of popular music. “I Saw Her Standing There” at the Cavern Club in Liverpool put a cheerful spin on the sexual swagger of American rock ’n’ roll. A 1964 “Ed Sullivan” appearance drew a larger audience than any television broadcast before it. That same year, “A Hard Day’s Night” pioneered the visual style that would later define MTV. The Shea Stadium concert in 1965 was at the time the largest rock show at an outdoor stadium. And then there were the years of experimentation at Abbey Road, when the Beatles rewrote the rules for what rock ’n’ roll could be.
Nearly 20 years after their breakup, the Beatles helped kick the compact-disc era into overdrive in 1987, as their reissued catalog again climbed the charts. The band’s remastered CDs coming next month will most likely be the last important milestone for that technology. In the current era of downloadable music, financial disputes have kept the Beatles conspicuously sidelined. That’s one reason so much care is going into the new video game. While over the years there has been no shortage of Beatles merchandise, some of it crass, the decision to release the game on the same date as the new CDs is, as well as an irresistible marketing tactic, a signal that the game is meant to be an authentic part of the band’s canon (as is McCartney’s decision to show footage from the game during his current American tour). The Beatles are positioning themselves to once again play a significant role in the evolution of popular music — this time by embracing interactivity.
“We’re on the precipice of a culture shift around how the mass market experiences music,” Alex Rigopulos told me recently. Rigopulos is the 39-year-old co-founder and chief executive of Harmonix Music Systems, which developed The Beatles: Rock Band and created the original Rock Band and Guitar Hero games that are its foundations. Although video games are associated more with guns than with guitars, music games are now the second-most-popular type on the market, ahead of sports and not far behind the traditional action category. The first Guitar Hero game came out in 2005. Two years later, Harmonix, now owned by MTV, introduced Rock Band. Together, Guitar Hero and Rock Band (now rival franchises owned by competing companies) have altered the way fans relate to music.
Playing music games requires an intense focus on the separate elements of a song, which leads to a greater intuitive knowledge of musical composition. “When you need to move your body in synchrony with the music in specific ways, it connects you with the music in a deeper way than when you are just listening to it,” Rigopulos went on to say. Paul McCartney said much the same thing when I spoke with him in June. “That’s what you want,” he told me. “You want people to get engaged.” McCartney sees the game as “a natural, modern extension” of what the Beatles did in the ’60s, only now people can feel as if “they possess or own the song, that they’ve been in it.”
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