Rickresource Rickenbacker Forum

It certainly has the mid-range P-90 sound. I have always thought that there was a healthy dose of compression along with the distortion on this recording.

Definitely direct to the board and cranked. I'll bet a Line 6 pod would be able to duplicate it.

I also recall reading it going straight into the board and with a Fairchild limiter/compressor.

I can pretty nail the sound with my Rev. Casino using an old Boss Turbo OD.

I don't know how they made it, but it is heavy
crossover distortion.

Thanks Randy .

I think if I were to get an Elitist Casino, I'd probably Harrisonize it with a Bigsby, but if I were to get a Lennon, I don't think I could do it.

I've heard the necks on Casinos are extremely comfortable to play, but again, I've never played one, so I can't personally vouch for that.

It sounds like SS distortion, I had always assumed it was the built in distortion on the Vox Super beatle, but you guys are probably right. It does sound like it could have been a SS board overdriven.

I recently got a sunburst Korean Casino, and it's become one of my favorite "player" guitars. There are some who say the electronics on the Koreans are not as good, and some day I may swap out the pickups with better P90s. But the finish, intonation and neck on the Korean model are superb.

Truth-in-advertising disclosure: I've never seen/played the Lennon or Elitist versions. Just saying if you want the Casino vibe and save some bucks, the Korean model is a fine choice.

I have a Line 6 pod. I've used the tube preamp setting to get a sound very similar with the gain cranked all the way up.

Jerry and Stuart: The Korean Casinos are definitely a bargain and good players, but the Elitists are head and shoulders better. I had a '66 Casino that I played for (20) years and thought was the best guitar I would ever own. My Japanese Elitist is simply better, so I sold my old favorite for almost 10X what I paid for it. I've never played either of the John Lennon Casinos, but I don't think they could be better than an Elitist (as long as you can tolerate a couple minor cosmetic differences). The Korean guitars can be bought for $400-600. The Elitists usually cost $1000-1300 (got mine for $850 with BIN). The Lennon models cost a lot more. For now I'm very happy with the Elitist.

I'd like a cherry MIK and a burst Elitist. My wife loves the cherry red. But I want a simular model to Harrison's.

Bob, I'm pretty sure the EMI boards in those days were the tube powered ones that Lenny Kravitz reportedly has now, so Lennon would have been overdriving the tube boards, not the SS boards. I've also read somewhere that he recorded it while laying on his back because that got the best sound.

What makes this difficult to do live with the Casino is the feedback. At lower volumes with a distortion pedal and compression the sound is easily achievable using the Casino. Also key, at least to my ear, is the use of a Fender Twin Reverb amplifier.

Greg: I read that John recorded the 'Revolution' vocals laying on his back. I can understand how vocals would be affected by his physical position, but certainly not the sound of his Casino.

Randy: I am with you on this one, if Lennon plugged straight in. However, there have been times in which I have turned myself inside out when playing the Casino to avoid feedback, so I can see Lennon lying down should he have been required to use an amplifier in the studio for Revolution.

When it comes to The Beatles, there are many stories that emerge with regard to their recording and live performances. It seems as if another is present in the case of Revolution.

Peter: From what I've read, John constantly experimented with his vocals, because he was never happy with his natural singing voice. In the early days he double-tracked, then he used the electronic equivalent of double-tracking. He also liked altering the tape speed (like on 'Lucy In The Sky'), using filters (like on 'Tomorrow Never Knows'), and of course heavy reverb (like most of his solo recordings). I read that he decided to record his 'Revolution' vocals laying on his back with the microphone suspended from the ceiling. It had something to do with the extra weight on on his diaphragm, if that makes any sense. I even recall seeing pictures of him on the floor during the sessions. I think he also tried recording with the microphone suspended inside a glass jar on another track.