The Beach Boys Now "Mastered for iTunes" (Possible New "Wild Honey", "Friends", "20/20" Remasters?)

[Bean Bag]

I'm not much of an audiophile, most of the stuff people complain about I poo poo.  However, even I hear the compression crap in modern mastering.


It's particularly strange to do that to a Brian Wilson song because he was always so into dynamics. 

That's a good point Ron.  Brian Wilson, more than any pop composer, used dynamics as properly as did he.  It's a part of his production genius that goes missing if squashed via compression or heavy limiting.  I've always felt there was Bach in the melodies / Beethoven in the orchestration.

[Freddie French-Pounce]

It's worth noting Wild Honey is now on HDtracks, haven't had a chance to check Friends or 20/20. HiRes awaits!

[Awesoman]

Basically the entire Capitol Records catalog is on HDTracks now.  Not sure if I'm going to shell out even more $$ for albums I own a dozen times over in a format that won't play on my iPod unless I compress them down (which negates the purpose of downloading them in the first place). 

[thetojo]

Basically the entire Capitol Records catalog is on HDTracks now.  Not sure if I'm going to shell out even more $$ for albums I own a dozen times over in a format that won't play on my iPod unless I compress them down (which negates the purpose of downloading them in the first place). 

Still waiting on a proper digital release of Brian's mono mix of the Christmas Album and the Concert album.

Correct me if I'm mistaken in believing that these mixes have never seen CD or other digital official release.

[Jesse Reiswig]

Basically the entire Capitol Records catalog is on HDTracks now.  Not sure if I'm going to shell out even more $$ for albums I own a dozen times over in a format that won't play on my iPod unless I compress them down (which negates the purpose of downloading them in the first place). 

Still waiting on a proper digital release of Brian's mono mix of the Christmas Album and the Concert album.

Correct me if I'm mistaken in believing that these mixes have never seen CD or other digital official release.

I could swear there was a mono CD release of Christmas Album not too many years ago, but that could be completely in my imaginary world.

[drbeachboy]

Basically the entire Capitol Records catalog is on HDTracks now.  Not sure if I'm going to shell out even more $$ for albums I own a dozen times over in a format that won't play on my iPod unless I compress them down (which negates the purpose of downloading them in the first place).  

Still waiting on a proper digital release of Brian's mono mix of the Christmas Album and the Concert album.

Correct me if I'm mistaken in believing that these mixes have never seen CD or other digital official release.

I was just at Acousic Sounds and a digital download of the Mono/Stereo Christmas Album is there http://store.acousticsounds.com/d/108817/The_Beach_Boys-The_Beach_Boys_Christmas_Album-FLAC_96kHz24bit_Download

[Bean Bag]

Is this the first appearance of the mono Christmas album!?     Tempted.  These weren't slated to be released on SACD, so this could be a good option.  Anybody get any of these downloads?

[drbeachboy]

Is this the first appearance of the mono Christmas album!?     Tempted.  These weren't slated to be released on SACD, so this could be a good option.  Anybody get any of these downloads?

Digitally, yes. The mono LP was released on vinyl last year, I believe. This is not slated for SACD release, so get this or the vinyl LP.

[thetojo]

Yep - from my lips to Gods ears and back to my hard disk!!

The distinction I was at pains to draw was between Brian's mono mix and some lazy fold-down. And yes, analog release had taken place. Note the difference in timing of the mono and stereo Merry Christmas Baby and compare to the previous CD ie. fold-down versions.

So now Concert holds the unhappy trophy of being the last Brian mono mix LP to remain unreleased digitally! Hopefully it won't be long.

[brother john]

Yes, a lot of stuff (most modern stuff) is mastered too loudly. More modern BB stuff hasn't been heinously over-done in this regard, but definitely has been mastered more loudly.

I'm relatively okay with the EQ decisions on modern remasterings of original BB mixes.

It's the remixes that have often been rather disappointing for me. WAAAAAY too much reverb.

For some reason some folks here have a thing against Steve Hoffman (and/or his work), but the BB stuff he's mastered is the go-to mastering for me in many cases. I'm still planning on getting the Kevin Gray SACDs of BB albums (VERY surprised they haven't been discussed here more; but then again I haven't gotten around to buying them yet so I can't complain too much!), and I suspect they'll be go-to masterings as well.

Interesting - I personally *don't* think recent releases of the BB stuff has suffered from too much compression, I know what over-zealous limiting sounds like and no way has the BB catalogue been exposed to that.

In terms of EQ, actually I do find on some occasions that Mark Linett's mixes have a *little* too much top end, just *too* trebley sometimes.

And as regards there being too much reverb, unless we here otherwise from the people who actually made the new mixes, I believe that the amount of reverb on new mixes is no different from the old ones, but is just a lot more audible because it is allowed to bounce about in a less-cluttered stereo image rather than being folded into the density of a mono mix.

[GetHappy!!]

FYI, all the Brother Records albums are now Mastered for iTunes.

[bryand]

And Holland has "We Got Love".....

[HeyJude]

And as regards there being too much reverb, unless we here otherwise from the people who actually made the new mixes, I believe that the amount of reverb on new mixes is no different from the old ones, but is just a lot more audible because it is allowed to bounce about in a less-cluttered stereo image rather than being folded into the density of a mono mix.

Nah, a lot of that digital reverb on some of the latter-day stereo mixes is not printed onto those multi-track tapes. Listen to mono versus stereo on things like "You're So Good To Me" and "Please Let Me Wonder." There's no way all of that reverb is on the multi-tracks and the mono mixes just folded all that reverb in. The mono mixes of those songs may not be 100% bone dry, but they're extensively more dry than the new remixes. The difference on tracks like that is night and day. "Please Let Me Wonder", as I've often said, sounds like someone hit "opera house" on a digital receiver. If you fold down those stereo mixes into mono, you don't all of a sudden get rid of that reverb.

[Matt H]

And Holland has "We Got Love".....

Thanks for pointing this out!  It is nice to have a good sounding version of this studio track!

[drbeachboy]

And as regards there being too much reverb, unless we here otherwise from the people who actually made the new mixes, I believe that the amount of reverb on new mixes is no different from the old ones, but is just a lot more audible because it is allowed to bounce about in a less-cluttered stereo image rather than being folded into the density of a mono mix.

Nah, a lot of that digital reverb on some of the latter-day stereo mixes is not printed onto those multi-track tapes. Listen to mono versus stereo on things like "You're So Good To Me" and "Please Let Me Wonder." There's no way all of that reverb is on the multi-tracks and the mono mixes just folded all that reverb in. The mono mixes of those songs may not be 100% bone dry, but they're extensively more dry than the new remixes. The difference on tracks like that is night and day. "Please Let Me Wonder", as I've often said, sounds like someone hit "opera house" on a digital receiver. If you fold down those stereo mixes into mono, you don't all of a sudden get rid of that reverb.

Well, what about on When I Grow Up? You really think Mark intentionally killed that track with all the echo and reverb. I cannot believe that was intentional. And, it is mainly just on the first verse. Very odd choice to be intentional.

[HeyJude]

I don't think anyone was trying to kill anything. I think it was just an artistic decision (it very well may be Brian that likes more reverb on these mixes) that some like and some don't. I can't speak specifically to the first verse of "When I Grow Up" without giving it a fresh listen. There may be anomalies on the multi-tracks as well. But on the whole, a lot of those remixes, like those found on the "Warmth of the Sun" compilation, have more reverb across the board. It's a clear style/artistic decision, that's all. I just find it excessive in some cases, and for me it negates the benefit of doing a stereo remix to spread everything out and give things more clarity.

I didn't realize quite how relatively dry some of Brian's "Today" and "Summer Days" era mono mixes were until I went back to them after hearing some of the stereo remixes.

I think a tasteful balance can be had; the 1996 PS stereo remix is great. The "Endless Harmony Soundtrack" stereo remixes are great as well (both versions; though I prefer the 1998 stereo remixes of CG and "Kiss Me Baby").

[drbeachboy]

I don't think anyone was trying to kill anything. I think it was just an artistic decision (it very well may be Brian that likes more reverb on these mixes) that some like and some don't. I can't speak specifically to the first verse of "When I Grow Up" without giving it a fresh listen. There may be anomalies on the multi-tracks as well. But on the whole, a lot of those remixes, like those found on the "Warmth of the Sun" compilation, have more reverb across the board. It's a clear style/artistic decision, that's all. I just find it excessive in some cases, and for me it negates the benefit of doing a stereo remix to spread everything out and give things more clarity.

I didn't realize quite how relatively dry some of Brian's "Today" and "Summer Days" era mono mixes were until I went back to them after hearing some of the stereo remixes.

I think a tasteful balance can be had; the 1996 PS stereo remix is great. The "Endless Harmony Soundtrack" stereo remixes are great as well (both versions; though I prefer the 1998 stereo remixes of CG and "Kiss Me Baby").

So, Mark Linett has no taste preparing stereo mixes is what I am getting from all this? I do wish he someone else in the know would address the issue. I figured it had to be on the tapes and a reason why Chuck Britz was never allowed to do a stereo mix.

[HeyJude]

I don't think anyone was trying to kill anything. I think it was just an artistic decision (it very well may be Brian that likes more reverb on these mixes) that some like and some don't. I can't speak specifically to the first verse of "When I Grow Up" without giving it a fresh listen. There may be anomalies on the multi-tracks as well. But on the whole, a lot of those remixes, like those found on the "Warmth of the Sun" compilation, have more reverb across the board. It's a clear style/artistic decision, that's all. I just find it excessive in some cases, and for me it negates the benefit of doing a stereo remix to spread everything out and give things more clarity.

I didn't realize quite how relatively dry some of Brian's "Today" and "Summer Days" era mono mixes were until I went back to them after hearing some of the stereo remixes.

I think a tasteful balance can be had; the 1996 PS stereo remix is great. The "Endless Harmony Soundtrack" stereo remixes are great as well (both versions; though I prefer the 1998 stereo remixes of CG and "Kiss Me Baby").

So, Mark Linett has no taste preparing stereo mixes is what I am getting from all this? I do wish he someone else in the know would address the issue. I figured it had to be on the tapes and a reason why Chuck Britz was never allowed to do a stereo mix.

Mark Linett has done some stereo remixes. His taste and preference and possibly instructions (e.g. Brian having input) are some of the factors at play, as they would be for any mixing engineer on any project. Some of the more recent stereo remixes aren’t to my taste, having mostly to do with the amount of reverb. That’s all.

I’m not saying anybody lacks “taste.” Specifically, I mentioned that Linett’s stereo remix of “Pet Sounds” is excellent, and I enjoy plenty of his other work as well. His and Alan Boyd’s work on “The Smile Sessions” is monumental, and sonically I think that stuff came across great. A few things on “Made in California” were mixed contrary to my taste (e.g. “You’ve Lost that Lovin’ Feelin’”), but for the most part those new mixes sounded great as well.

[hideyotsuburaya]

on MIC the new (2012) true stereo WILD HONEY mix pretty much suppresses the sharply up-front tambourine shakes/slaps from the original mono 45

[mikeddonn]

I don't think anyone was trying to kill anything. I think it was just an artistic decision (it very well may be Brian that likes more reverb on these mixes) that some like and some don't. I can't speak specifically to the first verse of "When I Grow Up" without giving it a fresh listen. There may be anomalies on the multi-tracks as well. But on the whole, a lot of those remixes, like those found on the "Warmth of the Sun" compilation, have more reverb across the board. It's a clear style/artistic decision, that's all. I just find it excessive in some cases, and for me it negates the benefit of doing a stereo remix to spread everything out and give things more clarity.

I didn't realize quite how relatively dry some of Brian's "Today" and "Summer Days" era mono mixes were until I went back to them after hearing some of the stereo remixes.

I think a tasteful balance can be had; the 1996 PS stereo remix is great. The "Endless Harmony Soundtrack" stereo remixes are great as well (both versions; though I prefer the 1998 stereo remixes of CG and "Kiss Me Baby").

So, Mark Linett has no taste preparing stereo mixes is what I am getting from all this? I do wish he someone else in the know would address the issue. I figured it had to be on the tapes and a reason why Chuck Britz was never allowed to do a stereo mix.

Chuck did do stereo mixes!  . There was also Mark's Lexicon reverb unit and how do you explain the overuse of reverb on things like Loving Feeling", "Wild Honey" live mix and "It's A Beautiful Day"?

[drbeachboy]

I don't think anyone was trying to kill anything. I think it was just an artistic decision (it very well may be Brian that likes more reverb on these mixes) that some like and some don't. I can't speak specifically to the first verse of "When I Grow Up" without giving it a fresh listen. There may be anomalies on the multi-tracks as well. But on the whole, a lot of those remixes, like those found on the "Warmth of the Sun" compilation, have more reverb across the board. It's a clear style/artistic decision, that's all. I just find it excessive in some cases, and for me it negates the benefit of doing a stereo remix to spread everything out and give things more clarity.

I didn't realize quite how relatively dry some of Brian's "Today" and "Summer Days" era mono mixes were until I went back to them after hearing some of the stereo remixes.

I think a tasteful balance can be had; the 1996 PS stereo remix is great. The "Endless Harmony Soundtrack" stereo remixes are great as well (both versions; though I prefer the 1998 stereo remixes of CG and "Kiss Me Baby").

So, Mark Linett has no taste preparing stereo mixes is what I am getting from all this? I do wish he someone else in the know would address the issue. I figured it had to be on the tapes and a reason why Chuck Britz was never allowed to do a stereo mix.

Chuck did do stereo mixes!  . There was also Mark's Lexicon reverb unit and how do you explain the overuse of reverb on things like Loving Feeling", "Wild Honey" live mix and "It's A Beautiful Day"?

We were talking about the 1965 albums that Britz wasn't given to a prepare a stereo mix and Linett made stereo remixes, specifically Today and Summer Days.

[Rocky Raccoon]

"We Got Love" should be placed between "Calfornia Saga" and "The Trader" which is where it was originally,instead of at the end of Mt. Vernon and Fairway but that's a minor complaint.  It's good to have it available either way.

[mikeddonn]

I don't think anyone was trying to kill anything. I think it was just an artistic decision (it very well may be Brian that likes more reverb on these mixes) that some like and some don't. I can't speak specifically to the first verse of "When I Grow Up" without giving it a fresh listen. There may be anomalies on the multi-tracks as well. But on the whole, a lot of those remixes, like those found on the "Warmth of the Sun" compilation, have more reverb across the board. It's a clear style/artistic decision, that's all. I just find it excessive in some cases, and for me it negates the benefit of doing a stereo remix to spread everything out and give things more clarity.

I didn't realize quite how relatively dry some of Brian's "Today" and "Summer Days" era mono mixes were until I went back to them after hearing some of the stereo remixes.

I think a tasteful balance can be had; the 1996 PS stereo remix is great. The "Endless Harmony Soundtrack" stereo remixes are great as well (both versions; though I prefer the 1998 stereo remixes of CG and "Kiss Me Baby").

So, Mark Linett has no taste preparing stereo mixes is what I am getting from all this? I do wish he someone else in the know would address the issue. I figured it had to be on the tapes and a reason why Chuck Britz was never allowed to do a stereo mix.

Chuck did do stereo mixes!  . There was also Mark's Lexicon reverb unit and how do you explain the overuse of reverb on things like Loving Feeling", "Wild Honey" live mix and "It's A Beautiful Day"?

We were talking about the 1965 albums that Britz wasn't given to a prepare a stereo mix and Linett made stereo remixes, specifically Today and Summer Days.

Sorry,  I took it to me stereo mixes per se. But yes that seems a plausible reason.  Maybe they tried stereo mixes but they didn't sound right.  Steve Hoffman said in the past that a stereo "Today" had been prepared.

[drbeachboy]

"We Got Love" should be placed between "Calfornia Saga" and "The Trader" which is where it was originally,instead of at the end of Mt. Vernon and Fairway but that's a minor complaint.  It's good to have it available either way.

It's a bonus track and they are always placed at the end. It wasn't put on this release to be in the original track order. If that was the case, then what would you do with Sail On Sailor, which wasn't a track on the original version? I am thankful just to now have a clean mix.  My playlist with the original track order gives Holland a different feel, for sure.

[DonnyL]

I think the reverb level itself is about the same, but the character and EQ of the reverb is different. On the original mixes, the echo is darker ... And yeh the stereo itself will make the reverb seem louder. I personally don't think there's been a digital reverb created that sounds "right".