At this point, restoring famed Beatles performances is familiar territory for Giles Martin.
The producer, son of legendary “fifth Beatle” George Martin, has worked on Fab Four material for nearly 20 years since he first oversaw the music with his father on Love — the 2006 Beatles Cirque du Soleil show — subsequently producing everything from anniversary editions of albums to the so-called “last Beatles song” with 2023’s “Now and Then.”
Now, Martin has secured his third Emmy nomination for sound mixing for his work on the documentary Beatles ’64, and he’s looking to earn a second victory following his 2022 win for The Beatles: Get Back. This latest nomination is both affirming and surprising, Martin tells THR, given that it’s one of the most technically difficult archival Beatles projects he’s taken on to date.
“The material we had, as far as audio quality goes, was so bad, and we had to do so much work to make it listenable,” he says. “The fact that it’s being recognized at all is a surprising and a massive honor.”
The same machine-assisted-learning tech that powered Peter Jackson’s Get Back and “Now and Then” went into Beatles ’64, with Martin pulling 60-year-old live recordings from the earlier days of Beatlemania and meticulously extracting individual stems of Ringo Starr’s drums or John Lennon’s vocals and enhancing them while looking to keep their authentic sound.
“What’s fascinating is we couldn’t have done this work, say, two years ago, [until] what we did with Jackson’s team and Get Back,” Martin says. “It’s a bit like knowing there are amazing artifacts beneath the soil in Pompeii, and scanning them and seeing if you can bring them to the surface. That’s the kind of work we’re doing.”
Martin likens the job to time travel, calling the process both fascinating and “a bit eerie.” He recalls one moment pulling vocals on Lennon from their 1964 Washington, D.C., concert at the Washington Coliseum: “I was thinking to myself, ‘Well, this is slightly unnatural because these vocals I’m hearing could’ve only existed if you were right next to his mouth that day.’ “
Martin emphasizes that the work “has to be done for a reason,” given the responsibility that comes with restoring the archives. Overall, the goal is to have a subtle enough touch that no audience would notice he did much at all.
“If I’m playing you a mix I’ve done, the last thing I want you to think about is what my mix was like, that it sounds like me — that’s how you know it wasn’t done right,” he says. “I want you to just think about how the song makes you feel.”
This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
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