.Sir George Henry Martin, (3 January 1926 – 8 March 2016) was an English,. He was referred to as the ' in reference to his extensive involvement on each of ' original albums. Said upon Martin's death, 'If anyone earned the title of the fifth Beatle, it was George'.Martin's career spanned more than six decades of work in music, film, television and live performance. Before working with the Beatles and other pop musicians, he produced comedy and in the early 1950s, working with, and, among others.

Cuius est solum, eius est usque ad coelum et ad inferos: Whose the land is, all the way to the sky and to the underworld is his. First coined by Accursius of Bologna in the 13th century. A Roman legal principle of property law that is no longer observed in most situations today. Less literally, 'For whosoever owns the soil, it is theirs up to. TIL that Beatles producer George Martin was granted his own coat of arms in 2004, which includes three beetles and the motto 'Amore Solum Opus Est' - 'All you need is love' college-of-arms.gov.uk/news-g.

In his career he produced 30 number-one hit singles in the United Kingdom and 23 number-one hits in the United States. He also held a number of senior executive roles at media companies and contributed to a wide range of charitable causes, including his work for and the island of. In recognition of his services to the music industry and popular culture, he was made a in 1996. The Beatles' first LP (produced by Martin)Following his graduation, he worked for the BBC's classical music department, then joined EMI in 1950 as an assistant to Oscar Preuss, the head of EMI's from 1950 to 1955.

Although having been regarded by EMI as a vital German imprint in the past, it was then not taken seriously and only used for EMI's insignificant acts. After taking over Parlophone, as head of artists and repertoire, when Preuss retired in 1955, Martin recorded classical and music, and regional music from around Britain and Ireland.Martin also produced numerous comedy and novelty records. His first hit for Parlophone was the 'Mock Mozart' single by with – a record reluctantly released in 1952 by EMI, only after Preuss insisted they give his young assistant, Martin, a chance. Later that decade Martin worked with on two very popular comedy LPs. One was released on 10' format and called The Best Of Sellers, the second was released in 1957, being called Songs for Swinging Sellers (a spoof on 's LP ).As he had worked with Sellers, he also came to know, with whom he became a firm friend, and best man at Milligan's second marriage: 'I loved, and issued an album of it on my label Parlophone, which is how I got to know Spike.' The album was. It was a spoof of the film, being based on the 1957 Goon Show episode 'An African Incident.'

It was intended to have the same name as the film, but shortly before its release, the film company threatened legal action if the name was used. Martin edited out the 'K' every time the word Kwai was spoken, with Bridge on the River Wye being the result. The is a river that runs through England and Wales.

The album featured Milligan, Sellers, and, playing various characters.Other comedians Martin worked with included,. Martin worked with both and the, with whom he had a number of hits. In early 1962, under the pseudonym 'Ray Cathode,' Martin released an early electronic dance single, ' – recorded at the. As Martin wanted to add to Parlophone's repertoire, he struggled to find a 'fireproof' pop artist or group.As a producer, Martin recorded the two-man show featuring and, which sold steadily for twenty-five years, although Martin's breakthrough as a producer came with the show cast album, which starred, and, and he would also produce the accompanying soundtrack album for 's satirical BBC TV show in 1963.

Martin's work transformed the profile of Parlophone from a 'sad little company' to a very profitable business. The Beatles. Martin working with the Beatles in a studio during sessions, 1964Martin was contacted by Sid Coleman of Ardmore & Beechwood, who told him about, the manager of a band whom he had met. He thought Martin might be interested in the group, even though they had been. Until that time, although there had been considerable success with comedy records, and a number 1 hit with the, Martin had only minor success with pop music, such as 'Who Could Be Bluer' by, and singles with.

After the telephone call by Coleman, Martin arranged a meeting on 13 February 1962 with Brian Epstein. Martin listened to a tape recorded at Decca, and thought that Epstein's group was 'rather unpromising', but liked the sound of Lennon's and McCartney's vocals.After another meeting with Epstein on 9 May at the, Martin was impressed by Epstein's enthusiasm and agreed to sign the unknown Beatles to a recording contract, without having met them or seen them play live. The contract was not what it seemed, however, as Martin would not sign it himself until he had heard an audition, and later said that EMI had 'nothing to lose,' as it offered one for each record sold, which was split among the four members. Martin suggested to EMI (after the release of ') that the royalty rate should be doubled without asking for anything in return, which led to Martin being thought of as a 'traitor in EMI'.The Beatles auditioned for Martin on 6 June 1962, in studio three at the Abbey Road studios. Ron Richards and his engineer recorded four songs, which Martin (who was not present during the recording) listened to at the end of the session. The verdict was not promising, however, as Richards complained about 's drumming, and Martin thought their original songs were simply not good enough.

Martin asked the individual Beatles if there was anything they personally did not like, to which replied, 'I don't like your tie.' That was the turning point, according to Smith, as and joined in with jokes and comic wordplay, that made Martin think that he should sign them to a contract for their wit alone.The Beatles' second recording session with Martin was on 4 September 1962, when they recorded ', heavily modified by The Beatles which Martin thought was a sure-fire hit, even though Lennon and McCartney did not want to release it, not being one of their own compositions or style. Martin was correct: ' version, which Martin produced, spent three weeks at No. 1 in April 1963, before being displaced by the Beatles' 'From Me to You'.

On 11 September 1962, the Beatles re-recorded ' with session player playing drums. Ringo Starr was asked to play tambourine and maracas, and although he complied, he was definitely 'not pleased'.

Due to an EMI library error, a 4 September version with Starr playing drums was issued on the British single release; afterwards, the tape was destroyed, and the 11 September recording with Andy White on drums was used for all subsequent releases. Martin would later praise Starr's drumming, calling him 'probably. The finest rock drummer in the world today'. As 'Love Me Do' peaked at number 17 in the British charts, on 26 November 1962 Martin recorded ', which he did only after Lennon and McCartney had almost begged him to record another of their original songs. Martin's crucial contribution to the song was to tell them to speed up what was initially a slow ballad. After the recording Martin looked over the mixing desk and said, 'Gentlemen, you have just made your first number one record'.

Martin directed Epstein to find a good publisher, as Ardmore & Beechwood had done nothing to promote 'Love Me Do', informing Epstein of three publishers who, in Martin's opinion, would be fair and honest, which led them to. As an arranger. Where Martin recorded Parlophone's artistsMartin's formal musical expertise helped fill the gaps between the Beatles' unrefined talent and the sound which distinguished them from other groups, which eventually made them successful.

Most of the Beatles' orchestral arrangements and instrumentation were written or performed by Martin, as well as frequent keyboard parts on the early records, in collaboration with the less musically experienced band. It was Martin's idea to score a string quartet accompaniment for ' against McCartney's initial reluctance. Martin played the song in the style of to show McCartney the that were available. Another example is the song ', which featured a solo that was requested by McCartney after hearing the instrument on a BBC broadcast.

McCartney hummed the melody that he wanted, and Martin notated it for, the classically trained trumpeter.Martin's work as an arranger was used for many Beatles recordings. For ',' he scored and conducted a strings-only accompaniment inspired.

On a Canadian speaking tour in 2007, Martin said that his 'Eleanor Rigby' score was influenced by Herrmann's score for the thriller. For ', he and turned two very different takes into a single master through careful use of and editing. For ', he provided a quirky and original arrangement for brass, violins, cellos, and the Singers vocal ensemble.

On ', he played a speeded-up piano solo. He worked with McCartney to implement the orchestral climax in ', and he and McCartney shared conducting duties the day that it was recorded.Martin contributed integral parts to other songs, including the piano in ', the in songs such as ' and '; the old steam organ and tape loop arrangement that created the circus atmosphere that Lennon requested on ' (both Martin and Lennon played steam organ parts for this song), and the orchestration in '. The first song that Martin did not arrange was ', as he had a prior engagement to produce a session, so McCartney contacted arranger to do it. Martin was reportedly hurt by this, but still produced the recording and conducted the orchestra himself. Martin was in demand as an independent arranger and producer by the time of the band's 1968 (also known as the 'White Album'), so the Beatles were left to produce various tracks by themselves.Martin composed and arranged the score for the Beatles' film and the film, for which wrote and sang the title song.

He helped arrange and 's American number 1 single '.Paul McCartney once commended Martin by saying: 'George Martin was quite experimental for who he was, a grown-up.' Film and composing work Beginning in the late 1950s, Martin began to supplement his producer income by publishing music and having his artists record it. He used the pseudonyms Lezlo Anales and John Chisholm, before settling on Graham Fisher as his primary pseudonym.Martin composed, arranged, and produced film scores since the early 1960s, including the instrumental scores of the films (1964, for which he won an Academy Award Nomination), (1965), (1968), and (1973). Other notable movie scores include (1962), (1966), (1972, starring and ), the film (1973), and the -directed (1981).Martin was also commissioned to write an official opening theme for 's launch in September 1967.

Entitled ', it was the first music heard on Radio 1 (not 's ', which was the first record played in full on the station). The tune was later covered by the British group.In November 2017, the -produced album George Martin – Film Scores and Original Orchestral Music was released. The album of new recordings collected a selection of Martin's compositions together for the first time, including previously unheard pieces Belle Etoile and sketches from the feature film (1986) which were not used in the original soundtrack.The Beatles Anthology Martin oversaw post-production on (which was originally entitled The Long and Winding Road) in 1994 and 1995, working again with. Martin decided to use an old 8-track analogue mixing console – which EMI learned an engineer still had – to mix the songs for the project, instead of a modern digital console. He explained this by saying that the old console created a completely different sound, which a new console could not accurately reproduce. He also said he found the whole project a strange experience, as they had to listen to themselves chatting in the studio, 25–30 years previously.Martin stepped down when it came to producing the two new singles reuniting McCartney, Harrison, and Starr, who wanted to overdub two old Lennon demos.

Martin had suffered a hearing loss, so he left the work to writer/producer of the. Cirque du Soleil and Love In 2006, Martin and his son, remixed 80 minutes of Beatles music for the Las Vegas stage performance, a joint venture between and the Beatles' Ltd. A was released that same year.

Public image Martin's contribution to the Beatles' work received regular critical acclaim, and led to him being described as the 'Fifth Beatle.' In 2016, Paul McCartney wrote that 'If anyone earned the title of the fifth Beatle it was George'.In the immediate aftermath of the Beatles' break-up, a time when he made many angry utterances, John Lennon trivialised Martin's importance to the Beatles' music.

In his 1970 interview with, Lennon said, ' is another one of those people, who think they made us. I'd like to hear Dick James' music and I'd like to hear George Martin's music, please, just play me some.'

In a 1971 letter to Paul McCartney, Lennon wrote, 'When people ask me questions about 'What did George Martin really do for you?,' I have only one answer, 'What does he do now?' I noticed you had no answer for that! It's not a putdown, it's the truth.' Lennon wrote that Martin took too much credit for the Beatles' music. Commenting specifically on ', Lennon said, 'For Martin to state that he was 'painting a sound picture' is pure hallucination. Ask any of the other people involved. The final editing Yoko and I did alone.'

In 1971, Lennon said, 'George Martin made us what we were in the studio. He helped us develop a language to talk to other musicians.' According to, he had 'great ears' and 'rightfully earned the title of 'Fifth Beatle'. Called Martin 'The Fifth Beatle, without question'.

Other artists. Martin in 2007Martin produced recordings for many other artists, including contemporaries of the Beatles, such as, &, and, as well as, the band, guitarists, and, sixties duo, country singer, and of.Also working with before his chart success, Martin recorded several songs with him in the early 1960s, with the singer using the pseudonym of 'Paul Raven'. He also produced the album (1974) for the eccentric British folk-rock group.

Martin worked with on his (1972) Icarus album, which was recorded in a rented house by the sea in. Winter said that Martin taught him 'how to use the studio as a tool', and allowed him to record the album in a relaxed atmosphere, which was different from the pressurised control in a professional studio. In 1979 he worked with to produce the album containing, written. In 2010, Martin was the executive producer of the hard rock debut of Arms of the Sun, an all-star project featuring (, ), John Luke Hebert , Lance Harvill and Ben Bunker.In 1991, Martin contributed the string arrangement and conducted the orchestra for the song 'Ticket To Heaven' on the last studio album On Every Street.

In 1992, Martin worked with on the musical stage production of. The play opened on Broadway in 1993, with the original cast album being released that summer. Martin won the Grammy Award for Best Musical Show Album in 1993, as the producer of that album.In 1995, he contributed the horn and string arrangement for the song 'Latitude' on the Made in England album, which was recorded at Martin's AIR Studios London. He also produced ', Elton's tribute single to the late, which topped charts around the world in September 1997.

Associated Independent Recording (AIR) Within the recording industry, Martin was known for having become independent at a time when many producers were still salaried. However, EMI refused his pleas for royalties on his own work, nor did they provide him with any year-end bonuses (which were standard for EMI employees) after 1962, maintaining that his £3000 annual salary was sufficient remuneration for his services, at a time when artists he had signed and were producing had generated tens of millions of pounds for EMI. By 1965, the Beatles' success had given Martin the leverage to start Associated Independent Recording (AIR), which enabled him to hire out his services to other artists. Martin also took EMI's best producers and staff along with him to AIR. AIR demonstrated how important Martin's talents were to his artists, and it allowed him a share in record royalties on his hits. To this day, AIR remains one of the world's pre-eminent recording studios. In 1979, Martin opened a studio on the Caribbean island of.

This studio was destroyed by ten years later. Music from the James Bond series Martin also directly and indirectly contributed to the main themes of three films in the series. Although Martin did not produce the theme for the second Bond film, he was responsible for the signing of to EMI, just months prior to his recording of the song of the same title.Martin also produced two of the best-known James Bond themes. The first was ' by in 1964.

The second, in 1973, was ' by for the. He also composed and produced the. Books and audio retrospective In 1979, Martin published a memoir, (co-written with Jeremy Hornsby), that described his work with the Beatles and other artists (including, and ), and gave an informal introduction to the art and science of. In 1993 he published Summer of Love: The Making of Sgt Pepper (published in the U.S. As With a Little Help from My Friends: The Making of Sgt Pepper, co-authored with William Pearson), which also included interview quotations from a 1992 episode discussing the album. Martin also edited a 1983 book called Making Music: The Guide to Writing, Performing and Recording.In 2001, Martin released: 50 Years in Recording, a six-CD retrospective of his entire studio career, and in 2002, Martin launched Playback, his limited-edition illustrated autobiography, published.

Television The Rhythm of Life In 1997–98, Martin hosted a three-part co-produced documentary series titled The Rhythm of Life, in which he discussed various aspects of musical composition with professional musicians and singers, among them,. The series aired on the television network in the United States. Produced by George Martin On 25 April 2011, a 90-minute documentary feature film co-produced by the BBC team, Produced by George Martin, aired to critical acclaim for the first time in the UK. It combines rare archive footage and new interviews with, among others, and, and tells the life story of how George Martin, a schoolboy growing up in the Depression, grew up to become a legendary music producer. The film, with over 50 minutes of extra footage, including interviews from, and, was released worldwide by on DVD and Blu-ray on 10 September 2012.Soundbreaking: Stories from the Cutting Edge of Recorded Music Produced in association with Sir George Martin, charts a century's worth of music innovation and experimentation, and offers a behind-the-scenes look at recorded music.

Soundbreaking features more than 160 original interviews with some of the most celebrated recording artists, producers, and music industry pioneers of all time. Soundbreaking became George Martin's last, and one of his most personal, projects when he died six days before its premiere. Death Martin died in his sleep on the night of 8 March 2016 at his home in, England, at the age of 90. His death was announced by on his Twitter account. A spokesperson for the confirmed his death. The cause of his death was not disclosed. He is survived by his wife of nearly fifty years, Judy Lockhart Smith, and his four children.

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Blender 2.8 user preferences. When you change an interface so significantly you should provide a menu/preferences option to emulate an earlier build interface for a couple of reasons.Experienced users can optimize their workflow by choosing which layout they preferNew users who are following tutorials which use the old layout can find stuff.I am in the second category and have had to delete 2.8 and start using 2.79 just so I can follow tutorials.The 2.8 splash screen does not give the option to emulate 2.79 anymore ( I believe it once did).

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