Steady rows of console faders, stacks of sound equipment, and narrowed windows divide rooms with carpeted floors and spaces well-soundproofed. These sights are chambers within the recording studio’s heartbeat, where the history of music like classic rock resides. Around islands of amplification, idling instruments, and varied voices, you might hear the ghosts of collaborations that redefined the concept of genius.

Many musicians well-versed in rock classics have dwelled in studios like these, places where they took the mold and broke it open. But what does it take to elevate material from casual to iconic classic? While poetry, musicality, vision, and style have a significant say, there are also a few studio tricks that gave us moments we still can’t forget.

The Beatles, Strawberry Fields (1967)

As The Beatles got deeper into their career, so too did their transformation as a group, especially when it came to the depth of their production style. By 1967, they attempted their most ambitious recording yet: a psychedelic, spaced-out dreamscape known as “Strawberry Fields Forever.” It would take 45 hours to create, spread out over five weeks.

This was because there were three versions of the track differing in structure, key, and tempo. The final two takes were merged and utilized reverse-recorded instruments and vocals. There’s also Mellotron flute and tape manipulation incorporated to get the final, floaty feeling we know so well today.

Beach Boys, Good Vibrations (1966)

Much like the Beatles, Brian Wilson and The Beach Boys were also in a heavily psychedelic state of mind with 1966’s “Good Vibrations.” Wilson particularly had a knack for cutting up many different recording sessions of sound, tempo, and emotion. He’d then blend them all into one cohesive creation (though “Good Vibrations” did take over seven months to produce).

Wilson also enjoyed using unexpected musical instruments. Toward the beginning of “Good Vibrations,” a “wee-oo” wail is heard that can be easily misconstrued as a theremin. It’s actually an experimental synthesizer called a tannerlin that had the same sound idea as the theremin, but was easier to use than a theremin.

The Rolling Stones, Start Me Up (1981)

While The Rolling Stones appeared to be more drug-addled experimentation than The Beatles or The Beach Boys, they also had a few tricks up their collective sleeve. This was true when it came to the song “Start Me Up,” which owed its extra kick to the endeavors of mixing engineer Bob Clearmountain.

Clearmountain had a “bathroom reverb” recording effect where some of the track’s vocals and drum parts could be taped with a miked speaker in the bathroom of New York City’s Power Station recording studio. This added echo/reverb was incorporated into the rest of “Start Me Up” to give the song a more potent “thump.”

Talking Heads, Once In A Lifetime (1980)

The Talking Heads were always appropriate leaders for the new wave genre movement, as they were oddball and eclectic but also knew how to make songs that really jammed/rocked. That funky feeling was spurred on by producer Brian Eno with their song “Once in a Lifetime,” which came about from an unusual approach.

Eno had the members of the group interpret and record the beat of “Once in a Lifetime” all in slightly different ways. He had them record their parts separately, isolated from each other before melding the blind overdubs together. This resulted in a song with a groove that felt both together and like it could fall apart at any moment.

10cc, I’m Not In Love (1975)

While the band 10cc had a classic with the (ironically named) love song “I’m Not In Love,” the more understated star of the show might just be the choir-like backing “ahhhs” beneath the track’s runtime. The members of the group were each recorded singing “ahhh” 16 times for each note of the chromatic scale.

When fully created, the group’s recording studio mixing desk had 256 voices on 16 tracks (a process that took weeks with tape loops). This basically made the mixing desk into a musical instrument with faders that could be raised and lowered as needed. Though not all the tracks could be completely faded, creating a constant backing vocal presence.

Van Halen, Mean Street (1981)

While the material isn’t quite as classic as Van Halen’s peak work, 1981’s Fair Warning still had its share of highlights, especially when it comes to the song “Mean Street.” Guitarist Eddie Van Halen was always known for his guitar-related pyrotechnics, but here keeps things basic and brutal.

As “Mean Street” unfolds, Van Halen takes some spirit from the title and simply beats on his guitar to get that bouncing “stamp” of rhythm that can be initially heard. Then, as simply as breathing, EVH switches into the chords of the song and takes off. More mild trickery, but another fun move of a master at work.

Led Zeppelin, When The Levee Breaks (1971)

While it’s hard to pick the best part of peak: Led Zeppelin playing a swampy blues cover of the song “When The Levee Breaks,” the sound of John Bonham’s drums is hard to ignore. The way Bonham’s sticks manage to assertively bump while simultaneously being at a distance creates a roving, ear-grabbing intrigue.

This effect setup occurs due to the recording studio Zeppelin was in at the time, which had multiple stories. Bonham set up his drums next to the bottom of a stairwell with multiple flights. The band hung recording mics on a floor above Bonham, giving his signature playing punch a ghostly bass that fits the song’s ominous tone.

Billie Jean (1982)

Bonus! Michael Jackson may be pop, but there’s no arguing, his tunes are classic.

The next-level collaborations between producer Quincy Jones and MJ have made waves that will last for generations to come. The song “Billie Jean” is part of that rip tide of unmistakable movement, with the track getting an unorthodox helping hand from audio engineer Bruce Swedien.

Swedien not only mixed “Billie Jean” 91 times in search of the song’s perfect sound, but he also had a homegrown approach to Jackson’s vocal overdubs. The “don’t think twice!” lyrical interjection in the track’s final version is Jackson singing through a cardboard tube that was several feet long, to alter the tone organically without adding technology.