Thursday, November 5, 2009

Paul McCartney's voice v. Faul's voice

Please also see Voice prints, vocal mimicry and technology.

In addition to physical differences between Paul McCartney and his imposter-replacement, Faul, there are also differences in voice and voice prints. The vocal differences have been disguised by studio magic.

Dr. Henry M. Truby of the University of Miami used samples from three Beatles songs sung by Paul McCartney (Yesterday, Penny Lane, and Hey Jude) and produced three very different sonagrams.

Reeve, Andru J., Turn Me On, Dead Man: The Complete Story of the Paul McCartney Death Hoax, Ann Arbor: Popular Culture, Ink, 1994: 69.

Here are clips of the three songs Dr. Truby sampled.

Different voice prints mean they are different people, at least according to US law. This is b/c they are considered "identifying particulars" and "immutable characteristics" unique to each individual.
[T]he term "record" means any item, collection, or grouping of information about an individual that is maintained by an agency, including, but not limited to, ... other identifying particular assigned to the individual, such as a ... voice print ...
5 USCS § 552a(4).

[T]he term "means of identification" means any name or number that may be used, alone or in conjunction with any other information, to identify a specific individual, including any--
... (B) unique biometric data, such as ... voice print ...; ...
United States v. Hawes, 523 F.3d 245, 249 (3d Cir. Pa. 2008); United States v. Mitchell, 518 F.3d 230 (4th Cir. S.C. 2008). ...

[T]he district court found that duty titles were not comparable to captured immutable characteristics such as finger or voice prints or photographs. The district court reached these conclusions because an individual's duty title changes over time, because multiple people can concomitantly have the same or similar duty titles, and because each individual has predecessor and successor holders of the same duty titles. We agree with the reasoning and conclusions of the district court. In circumstances where duty titles pertain to one and only one individual, such as the examples of identifying particulars provided in the statutory text (finger or voice print or photograph), duty titles may indeed be "identifying particulars" as that term is used in the definition of "record" in the Privacy Act. For the reasons detailed by the district court, however, the [**9] duty titles in this [*188] case are not "identifying particulars" because they do not pertain to one and only one individual.
Pierce v. Dep't of the United States Air Force, 512 F.3d 184, 188 (5th Cir. Miss. 2007).
Dreamdoctor's comment about the analysis above:

The normal display of Cool Edit Pro (the software) shows a wave based on volume, the higher the peaks, the louder it is. This display shows the frequencies. The display is in stereo, so is split horizontally. below each word is the frequency display for that word, as it is in the sound comparison. By comparing the two sections, there is more red in the 6000-8000hz group in Faul's 'Hey' - so there are more harmonics in that sound than the first one.

Interviews from August 1966 & December 1966 reveal different voiceprints.

If you focus in on the voices, obvious differences are detectable.

Paul McCartney's Real Voice:

Faul singing "I'm So Tired":

It seems the studio magiCIAns might have used something called "audio stretching" to make Faul's voice sound more like Paul's. This is from "Sgt. Pepper":

The only real version of Sgt. Pepper is the mono version," says former Beatles sound engineer Richard Lush. "There are all sorts of things on the mono, little effects here and there, which the stereo didn't have."
Because stereo wasn't as commonplace in the 60's, the mono mixes were always given top priority. That meant in this case the mono mixing was done with much love and care, with the Beatles in attendance, whereas the stereo mixes were made in just a few hours afterwards by Producer George Martin alone. Of course, stereo was soon to take over and this meant that this original mono mix with all its subtle differences (like, for example, She's Leaving Home played at the right speed rather than slowed down as it is on the stereo) was soon deleted...
The Beatles - Sgt. Pepper's Monomix

Here is an example of studio magic being used on "Strawberry Fields Forever" to change how the voice sounded:

...The open-ended sessions soon took their toll on the recording team. "More time was spent on 'Strawberry Fields Forever' than any other Beatles song," says Emerick. "It was, I believe, the first time a Beatles song had been re-recorded in its entirety."

But even with the revised version in the can, Lennon still wasn't satisfied.... He had been listening to the early acetate again, and now preferred the original opening bars. In his recent memoirs, Here, There & Everywhere, which provide an intimate, first-hand view of the Beatles' recording process, Emerick recalls how Lennon casually told his recording team that he wanted the two versions joined together: "My jaw dropped. Out of the corner of my eye, I could see George Martin blinking slowly. I could almost detect his blood pressure rising."

Martin patiently explained that it simply wasn't possible: they had been played in different keys, at different tempos and the arrangements were radically different. "John appeared nonplussed," writes Emerick. "I'm not sure he even understood why that presented a problem." Today, a computer can easily alter pitch and tempo. In 1966, all Emerick had at his disposal was a pair of editing scissors, two tape machines, and a varispeed control to modify the pace of the recording. Martin glanced at Emerick. They elected to give it a go.

As December drew to a close, the final master of the song was made. They worked late into the evening, as Emerick, Lennon and McCartney skilfully edited the tapes together. Such close collaboration, says Emerick, was unusual. "In general, Paul and John didn't watch over my shoulder; they trusted George Martin and me to translate their ideas into reality. For the most part, they stayed in the studio working on the music and we stayed up in the control room working on the sounds." Emerick discovered that by speeding up the playback of the first take and slowing down that of the second, he could match them in both pitch and tempo. The join was made exactly one minute in. "George [Martin] and I decided to allow the second half to play all the way through at the slower speed," says Emerick. "Doing so gave John's voice a smoky, thick quality that complemented the psychedelic lyric and swirling instrumentation." ...
"'Strawberry Fields Forever': The making of a masterpiece," 29 November 2006, The Independent.


The Luciferian Deception

Reptilians, Cetaceans and Frequency Wars on Planet Earth


  1. Wasn't Bill's hair Red? Maybe the song title refers to Paul answered for Yesterday,

    "Strawberry" fields "FOREVER"

    1. Hey Jude, don't make it bad....I am surprised no one linked this song to his Zionist handlers!!!!! England is the mother ship of the lizard people!

  2. It's possible Faul/Bill's hair color is lighter - & that's why he needed the fake mustache.

  3. Awesome!!

    Have you guys done anymore (or are planning to do) voiceprints in the last few months?

    That would be super!

  4. ^ I would love to get more voiceprints. Stay tuned! :-)

  5. Hi Plastic Macca,

    I'm doing a private report on JPM songs. Now besides the obvious ones from 1962-1966, which songs do you think JPM wrote (not necessarily recorded) were released post-1966 and were "adopted" by the Beatles to put on later albums? Obviously, by the time of Paul's murder, he probably had a large repertoire of songs that were possibly finished or half-finished. Paul was definitely working on Penny Lane in 1966 because he mentions it in an interview, and I'm thinking She's Leaving Home may be in the same boat too because Paul said that he was beginning to get into classical influences. Perhaps The Long and Winding Road, Let It Be, When I'm Sixty Four, Your Mother Should Know, and that little snippet in A Day in the Life (Woke up, fell out of bed...etc.) are all Paul's, but I'm not 100% sure.

    What's your take on post-66 songs that are possibly JPM-penned?


    1. This could actually be possible that they just used pre-recorded demo tapes (He [JPM] even said in a May 1966 interview that they record everything they write) and made them into songs. But then again, I have read the songs' bios and the songwriting dates don't match up on some of them, such as "She's Leaving Home" and "Your Mother Should Know". If you don't take my word for it, here's a link:, follow it and see what they have to say about the songs.

  6. ^ That is fantastic. I would be happy to give you my take on it.

    Penny Lane - JPM
    She's Leaving Home - JPM
    Your Mother Should Know - JPM
    little snippet in A Day in the Life - JPM

    The Long and Winding Road & When I'm Sixty Four - I think maybe JPM had worked on parts of them & then whoever crafted them into songs just expanded on what he had done.

    Let It Be - I think it may be Michelle re-worked. I think they took some of Paul's/Beatles' songs & re-crafted them into new songs. I guess that way, they could preserve the original Beatles' flavor, more or less. Other songs I think may have been re-worked are

    Obladi - I'm Looking Thru You
    Mean Mr. Mustard - Rain
    Lady Madonna - AHDN
    All Together Now - Help
    Hey Jude - For No One



  7. Hey Tina!

    I found a very, very interesting youtube video concerning what is claimed to be the original demo tape for the Mccartney-penned "A World Without Love". It appears that the tape has been subject to the damage of time a bit so the quality isn't so great. You can listen to it here:

    Do you think it is JPM? Tell me what you think!

    1. I've heard it, it's a fake. There is a short recorded demo of "World Without Love" that apparently was found by Peter Asher that sounds exactly like Paul. Here's the link if you want proof:

  8. Read a piece by George Martin in 1966(!) who said that Lennon and Mccartney wrote so many songs that if they had to put them all on LPs they would have enough to fill one LP for each month for forty years. WOW!

    Looks like the post-JPM Beatles had quite a bit of material to fill out the remainder of their careers with him gone.

  9. Funny, when I was a young (10-15) I started collecting the Beatles albums in a chronological (release) order. I learned by ear that whoever song it, wrote it (or most of it) and I loved JPM music. That changed the very first time I listened to Revolver. Great album but something didn't seem right to me. I was left flat with Paul's music and began my obsession with John. I thought maybe I had gron up and Paul's lyrics and choices no longer interested me and left it at that. Years later (in my early 20's) I begun to learn about the Faul conspiracy and it hit me like fist to the face. Paul is dead was more than just a publicity stunt, Paul was really dead. It all made sense, the last tour 1966. The begining of all the album clues, 1967. The change in John's love for Paul began at that time as well. Poor John, he loses his beloved Uncle, then Julia, then Paul. No wonder he became so acidic - "Those freaks were right when they said you were dead, the one mistake you made was in your head".

  10. the first time i looked at the pepper album, i wondered why paul looked sooo different. then i heard ussr, and thought..thats the beatle's? who's singing that. even honey pie. i will. his face changed and realistically, his bass playing really changed from the walking rock and roll lines, to more sophisticated playing.
    who anywhere played bass like the base on penny lane? and his voice is not the same on that somg either.
    I believe something is up. I've learned more online the last few months .
    My friends just dont want to belive stuff like this. they'd rather laugh at you than want to believe the truth or a nother truth.

  11. Hey Jude don't make it bad..... No one is linking it to the obvious Zionist Jews! England is the mothership after all! LMAO Zionist replaced a deceased JPM with Billy Cambelll! It's the truth! McCartney did die in 1966 but his BRAND was given eternal life!

  12. John was replaced too. Watch a lot of videos of pre 1967 John and then watch any of 67+ and you'll see th

  13. I always could kind of hear the difference vocaly for Paul on the later Beatles albums espeasily the white album on up before I discovered PID. Bill's voice is naturely higher pitched than Paul's. Also always found Bill's Lady Madonna, back in the ussr voice odd. Mom never sang like that.

  14. The Fool on the Hill that appears in late 1967 after the Magical Mystery Tour also has similar strange, surreal but… sad, depressing and hopeless undertones? … What happened to Paul that he started to write so many sad, tragic or weird songs?...
    Much of these pieces are actually depressing, as the sad ones on Sgt Pepper.
    Being for the benefit of Mr.Kite is just a colourful, caleidoscopic and noisy non-sense. Ringo brings a bit of joy with the help of his friends, but the lyrics are eitherchildish, ambiguous or weird, your pick.
    When I’m 64 is pure delight, typical McCartney sunny and happy-go-lucky song with dreamy jazzy orchestrations / arrangements from George Martin, and we see a return of that style in ‘Honey Pie’ on the white album also with George Martin vital help with the classical / jazzy instrumental section.
    These songs have very little in common and there is no obvious unifying concept, despite the widespread well-trotted dogma. And then there is A Day in the Life, a haunting one- of- a- kind song, in sound, message and lyrics, strange times indeed?! John actually does not sing much, there is one note and it is almost the same… but still is very rich, full and colorful, by inflections… the slow pace… merely. It does have a charm… which is hard to explain. Then we hear the weird orchestral dodecaphonic and random crescendo… that trip transports sorts us into Paul’s early morning challenges encountered in the morning of everyday life- routine scenario… - getting out of bed etc. having a coffee and a smoke etc. nice little piece and contrast… maybe he was the major protagonist that John was singing about… changing perspectives… and then we go back to the narrator, who also speaks in a first person voice…something happens again now that the crescendo is louder and longer goes up.. up… up.. where does it go we don’t know… but it finishes with a magisterial long, long, long sustained G chord on 4 pianos etc. So what does it all mean to us the gibberish at the end which sounds truly like a delirium of a O-C-D- person or psychopathic?


Thank you for your comments. They will appear once they have been approved.

Note: Only a member of this blog may post a comment.