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Martin was genius. Compare how loud and real

"Twist and Shout" sounds compared to other ditties of its day. Too bad MArtin did not foresee the need for stereo.

But he caught lightning in a jar. It was no accident he dressed as a doctor, he was a doctor of recording.

I am not saying he made a bad band sound good. But he made a good band sound better than humanly imaginable. Much of that with their help, in other words he used his knowedge of miking and equipment and mixing and classical music, to facilitate John or Paul's genius view of what the musical landscape should sound like.

Watch the video of Beatle era "For No One". There's a GREAT example. Pauls guitar playing, nothing above average. BUT NOTE THAT HIS ideas as to what the song should sound like are ALREADY there!!!!! His producer merely brought Paul's vision to fruition. George Martin knew he had 2 geniuses in tow; his job was to not get in their way.

Paul: "French horn".

and if you know and love that track like I do, the French horn plays exactly what Paul mimics!!! That was George Martin's doing, take the idea and make it come true on magnetic tape. He was the producer, BTW, the twidling of knobs was not his job, Allan Parsons, Glyn Johns, and Hurricane Smith (Oh, Babe, what would you say?") were knob twirlers.
Except on Let it Be, Glynn got to produce, sort of

"That was very good.." says Glynn over the playback monitor after one lousy take of "Let it Be".
"Give it to us straight, Glynn.." says John

As for " neither "ever displayed quite the musical touch". That musical touch is in the eye of the beholder. It is not technical virtuosity.

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