Magical Mystery Voice:
Detecting Faul's Appearance on Beatles Recordings
Tina Foster
Forensic analysis of voice prints, comparable to the unique fingerprint of one's vocal cords, has emerged as a potent tool in verifying the authenticity of recorded voices. This methodology hinges on the fact that the subtle differences and acoustic signatures inherent in an individual's voice are distinct and immutable. In the United States, voice prints are legally recognized as identifying particulars equivalent to biometric data such as fingerprints or retina scans, reinforcing their importance in establishing identity.
In 1969, Dr. Henry M. Truby, a respected authority in the field, meticulously examined vocal samples from iconic Beatles songs attributed to Paul McCartney, namely "Yesterday" (1965), "Penny Lane" (1967), and "Hey Jude" (1968). Employing sophisticated sonogram analysis techniques, Dr. Truby delved deep into these recordings, uncovering discrepancies that transcended mere stylistic nuances. His findings revealed three distinct vocal patterns woven into each song, suggesting the presence of multiple voices despite all being attributed to “Paul McCartney.” While the analysis suggested that the real Paul McCartney had sung "Yesterday" based on the consistent vocal pattern, the examination of "Penny Lane" and "Hey Jude" unveiled different voice patterns indicative of multiple voices, betraying the use of voice doubles. These revelations cast doubt on the notion that all tracks attributed to Paul McCartney featured his sole vocal performance, supporting the notion that the real Paul was replaced by an impostor prior to “Penny Lane” (1967).
Listen to "Yesterday," "Penny Lane," and "Hey Jude."
Studio engineering provides a plethora of tools for manipulating and disguising a voice, offering ample opportunities for deception. Techniques such as adjusting playback speed, pitch shifting, time stretching, and distortion effects can all be used to alter the natural qualities of a voice, making it sound different from its original state and more like someone else’s. These methods were likely employed to make the voice doubles sound more like the real Paul McCartney, thereby maintaining the illusion of continuity in the Beatles' recordings.
Despite these manipulations, forensic analysis of voice prints can be used to verify the authenticity of vocal performances. The intrinsic features captured by voice prints transcend the superficial alterations introduced by studio techniques, allowing experts to differentiate between recordings featuring different vocal performers. This analytical approach sheds light on Paul McCartney's replacement, offering insights into the use of voice doubles in the Beatles’ music.
In the saga of the Beatles and the replacement of Paul McCartney with "Faul," forensic and technological analysis support the "Paul is Dead" theory. Advocates use voice print examination to challenge the official narrative, citing different vocal patterns in Beatles songs attributed to Paul McCartney. Despite skepticism, voice print analysis betrays the band's use of stand-ins, reinforcing the claim that Paul was replaced by an impostor in mid to late 1966.
All of this and more is discussed in Plastic Macca: The Secret Death and Replacement of Beatle Paul McCartney.
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