The Stephen Desper Thread

[hypehat]

Wow! Thanks so much, Stephen and Will. C!

[Mitchell]

Yes, I believe the understanding is that 1967 recording of GOK (and several other tracks recorded at the time) were to be used for a live album in lieu of the actual live performance(s) in Hawaii that year.

The a capella ending is great, though a little over the top. In your remix it really jumped out of the sound field compared to the rest of the track, which I thought was great. I liked how different voices seemed to have their own space. You can hear Marilyn join in, too! (Terry Melcher claims to have also participated in that section)

The Spectrum performance was quite good. I hadn't heard it before. I recall you saying you were trying to get the whole show released so I hope that happens! That's a great story about your "mixing blind"... Did you do that often?

[Stephen W. Desper]

Yes, I believe the understanding is that 1967 recording of GOK (and several other tracks recorded at the time) were to be used for a live album in lieu of the actual live performance(s) in Hawaii that year.

The a capella ending is great, though a little over the top. In your remix it really jumped out of the sound field compared to the rest of the track, which I thought was great. I liked how different voices seemed to have their own space. You can hear Marilyn join in, too! (Terry Melcher claims to have also participated in that section)

The Spectrum performance was quite good. I hadn't heard it before. I recall you saying you were trying to get the whole show released so I hope that happens! That's a great story about your "mixing blind"... Did you do that often?

COMMENT:   That's a hoot that Marilyn and Terry were singing on the a cappella tag!  I've been privileged to sing on a few of those too. I can see Brian pulling everyone into the singing.  And yes, the tag is a little over the top, as I said -- not very commercial -- but then, fun for the fans to hear alternatives. I'm so happy that you heard the a cappella section jump out or the stage widen within the field, which is exactly what I wanted to hear.  So that tells me that if a person follows the setup guidelines, they will in fact hear a recreation of what I'm hearing here. I'm working on a study-video of the entire Spectrum Concert, of which GOK was a preview, but that release is off in the far future.  Thanks for your feedback.   ~swd

[Stephen W. Desper]

COMMENT:

====================================================================================
====================================================================================

Announcement  &  Guidelines for Use

With help from Will C. Music Productions I am proud to announce the third of many study-videos that will explore the sound production techniques I used in the making of Beach Boy and other artists’ music. These studies also include examples of my favorite mastering techniques applied to finished works of other engineers. I believe you will find they clarify the music and expand the presentation in the stereo panorama. However, this "privilege of study" can cease to be, if abused.  

The study-videos provided under password covenant involve the use of copyrighted material. Copyright “Fair Use” rules and regulations allow for study and examination of copyrighted material provided that certain requirements are met. Navigating the Fair Use regulations is a slippery slope and open to much interpretation, depending on each particular situation.

Openly posted copies of copyrighted works proliferate the Internet today. In most cases these postings remain unchallenged by the copyright holder, and thus seem to be setting a broader precedence for tolerance. However, I caution you to be vigilant. The studies I am providing are not for use by the general public and are not openly posted nor should be openly posted. I have placed all these studies behind a password and non-descriptive web-address for a reason. Please respect my request that anything protected behind a password remain within and must be confined to this study. They are not be copied or posted elsewhere, such as Youtube.com, or to become the subject of a bootleg copy. To do otherwise is to tempt and/or “push” the Fair Use doctrine to a point that may not be tolerable or allowed by the copyright holder, resulting in the forced removal of the study(s).

I’m sorry to be so restrictive in my requests, but posting comments is one thing. Posting the actual music is another – even if used in a study format. All of these studies are available by privilege. Let us all respect that privilege and not violate the opportunity granted us for study by abusing the rules.

This message board is where I post. It is not connected with these study-videos.

These studies are provided for use by the dedicated and interested Beach Boy fan. Please feel free to share the study-site with fellow interested fans. But if you share, please caution those with whom you share of the restrictions that must be followed under this privilege.  Any copy of music or commentary should (1) be for personal use only, (2) not be for monetary gain, and (3) be in addition to purchased copies of the same material, i.e., not be used in place of the original purchasing of the musical product from a retail or Internet store.

IMPORTANT!  All of the provided studies are designed to be reproduced over any stereo system, from small to large. I would encourage you to connect your computer to a good set of speakers or to your stereo system (via the headphone or output jack) for a complete realization of the music-subject explored in each study. I master for good sound. Connect your computer to the best sound you can. The listening rewards are enormous.
Required passwords can be seen by clicking on my name, then look under Website. The best way to enter the password is to copy and paste. Copy only the two words (not the quotation marks) and paste into the window at VIMEO.

Please post all comments and/or discussions back onto this thread.  

Thank you and Good Listening,  ~Stephen W. Desper

====================================================================================

Cool, Cool Water >>> http://vimeo.com/willcmusicproductions/w583rthv42tr808ccw >>> passcode #1

Heroes And Villains >>> http://vimeo.com/willcmusicproductions/w583rthv42tr809hav >>> passcode #2

God Only Knows >>> http://vimeo.com/willcmusicproductions/w583rthv42tr808gok >>> passcode #2

====================================================================================

This new offering studies a favorite of every fan’s, God Only Knows. It’s 32 minutes long and offers some history that may be familiar to many of you. but when flavored with my engineering narration and sound processes will shed new insight into this song’s sonic journey while rewarding your listening time with some of Brian’s most cherished studio adventures. Thank you all, in advance, for taking the time to listen.

I strongly suggest that if it is at all possible for you to connect your computer to a high quality sound system, DO IT !!  At the least, sit in front of your speakers as suggested in the video for the sound perspective to properly emerge. Please let me know if you have any problems downloading this Vimeo presentation. Use the “other mixes” password from my profile. To avoid problems with the password, I suggest you copy it from my profile and paste it into the window at Vimeo. This seems to work the best. Will C. and I hope you enjoy GOK.      ~swd

PS :: I have double checked access to the study-videos and copy/paste-ing the passwords. It all works for me. If you still have problems, let me know. We will make it work for you.  ~swd

[Will C.]

Hey all!  Very happy to read the positive comments from those who have been enjoying the GOK study video!  Like most of you, I was truly blown away to read through the story about descending deep underground to the Capital reverb chambers for a truly special moment in time.  Carl Wilson is such an inspiration to me, and Mr. Desper's friendship with him provides us with a very special glimpse into some wonderful moments in Beach Boy history.  As fans, we've heard a lot of stories countless times.  How thrilling is it to have never-before-shared memories on the group coming to light in 2012?  I have to continue to thank Stephen W. Desper many times over, because it is such a pleasure to hear The Beach Boys in this sound quality... presentations that are coupled with joyous recollections!

To anybody having trouble accessing the videos.  My # 1 suggestion is to use copy-and-paste when dealing with the applicable password.  That way you will not get tripped up on capitalization issues and whatever else is making people hit snags.  If Internet Explorer isn't working, I bet you'll have luck with an alternate search engine... Firefox, Chrome, Safari (if you're on a Mac).  The video is working and we'd be delighted if you have a chance to sit back, relax, and enjoy it! 

[Misterlou]

That was the trick for me - an alternate search engine. Got in on Firefox the first time. One word: AMAZING! It's mindblowing on my little computer speakers... now if I could just connect my Polks to my computer. Thanks Stephen and Will C.

[Amazing Larry]

COMMENT:

====================================================================================
====================================================================================

Announcement  &  Guidelines for Use

With help from Will C. Music Productions I am proud to announce the third of many study-videos that will explore the sound production techniques I used in the making of Beach Boy and other artists’ music. These studies also include examples of my favorite mastering techniques applied to finished works of other engineers. I believe you will find they clarify the music and expand the presentation in the stereo panorama. However, this "privilege of study" can cease to be, if abused.  

The study-videos provided under password covenant involve the use of copyrighted material. Copyright “Fair Use” rules and regulations allow for study and examination of copyrighted material provided that certain requirements are met. Navigating the Fair Use regulations is a slippery slope and open to much interpretation, depending on each particular situation.

Openly posted copies of copyrighted works proliferate the Internet today. In most cases these postings remain unchallenged by the copyright holder, and thus seem to be setting a broader precedence for tolerance. However, I caution you to be vigilant. The studies I am providing are not for use by the general public and are not openly posted nor should be openly posted. I have placed all these studies behind a password and non-descriptive web-address for a reason. Please respect my request that anything protected behind a password remain within and must be confined to this study. They are not be copied or posted elsewhere, such as Youtube.com, or to become the subject of a bootleg copy. To do otherwise is to tempt and/or “push” the Fair Use doctrine to a point that may not be tolerable or allowed by the copyright holder, resulting in the forced removal of the study(s).

I’m sorry to be so restrictive in my requests, but posting comments is one thing. Posting the actual music is another – even if used in a study format. All of these studies are available by privilege. Let us all respect that privilege and not violate the opportunity granted us for study by abusing the rules.

This message board is where I post. It is not connected with these study-videos.

These studies are provided for use by the dedicated and interested Beach Boy fan. Please feel free to share the study-site with fellow interested fans. But if you share, please caution those with whom you share of the restrictions that must be followed under this privilege.  Any copy of music or commentary should (1) be for personal use only, (2) not be for monetary gain, and (3) be in addition to purchased copies of the same material, i.e., not be used in place of the original purchasing of the musical product from a retail or Internet store.

IMPORTANT!  All of the provided studies are designed to be reproduced over any stereo system, from small to large. I would encourage you to connect your computer to a good set of speakers or to your stereo system (via the headphone or output jack) for a complete realization of the music-subject explored in each study. I master for good sound. Connect your computer to the best sound you can. The listening rewards are enormous.
Required passwords can be seen by clicking on my name, then look under Website. The best way to enter the password is to copy and paste. Copy only the two words (not the quotation marks) and paste into the window at VIMEO.

Please post all comments and/or discussions back onto this thread.  

Thank you and Good Listening,  ~Stephen W. Desper

====================================================================================

Cool, Cool Water >>> http://vimeo.com/willcmusicproductions/w583rthv42tr808ccw >>> passcode #1

Heroes And Villains >>> http://vimeo.com/willcmusicproductions/w583rthv42tr809hav >>> passcode #2

God Only Knows >>> http://vimeo.com/willcmusicproductions/w583rthv42tr808gok >>> passcode #2

====================================================================================

This new offering studies a favorite of every fan’s, God Only Knows. It’s 32 minutes long and offers some history that may be familiar to many of you. but when flavored with my engineering narration and sound processes will shed new insight into this song’s sonic journey while rewarding your listening time with some of Brian’s most cherished studio adventures. Thank you all, in advance, for taking the time to listen.

I strongly suggest that if it is at all possible for you to connect your computer to a high quality sound system, DO IT !!  At the least, sit in front of your speakers as suggested in the video for the sound perspective to properly emerge. Please let me know if you have any problems downloading this Vimeo presentation. Use the “other mixes” password from my profile. To avoid problems with the password, I suggest you copy it from my profile and paste it into the window at Vimeo. This seems to work the best. Will C. and I hope you enjoy GOK.      ~swd

PS :: I have double checked access to the study-videos and copy/paste-ing the passwords. It all works for me. If you still have problems, let me know. We will make it work for you.  ~swd

That echo chamber story was beautiful, Steve. I wish I could experience something like that in my life.

[Shane]

I have to echo the comments about the echo chamber story... that is just an amazing story.  I just listened to this in a large room with four speakers (stereo, not quad).  Awesome sound!!

[Phoenix]

No luck getting in with either Internet Explorer or Chrome.  Any suggestions?

[Stephen W. Desper]

No luck getting in with either Internet Explorer or Chrome.  Any suggestions?

COMMENT: By "getting in" do you mean loading in Vimeo or trouble with the password?  ~swd

[GlenDinning]

Stephen, I have just spent a happy time listening to the new mixes, especially Heroes and Villains.  The clarity delivered by the two processes you allude to is impressive. For the first time one is almost invited into the mix.  I have a thought and a question.  On the spacial expansion in the stereo image, I found myself sparing a thought for the one person who probably could not "get it": Brian.  Forgive me, I collapsed it to mono to see what he would probably hear: a clearer, sharper reproduction.  The question: is the effect of the restoration of the leading edge of the sound waves restoring what would have been heard over the studio monitors at final mix or does it restore clarity that would have already been eroded by tape transfers and bouncing prior to final mix-down?
Best regards,
Keith

[Awesoman]

Loved the expanded stereo mix for "Cool, Cool Water"!  That was great!  Thanks for sharing!

[brother john]

Once again, a fascinating and deeply pleasurable listen. Thanks so Much Stephen and Will C for the GOK video, it's great to hear it put through the device, it sounds so fantastic.

And I appreciate the way you have panned the mono mix left, just as Brian would have heard it. 

[Stephen W. Desper]

Stephen, I have just spent a happy time listening to the new mixes, especially Heroes and Villains.  The clarity delivered by the two processes you allude to is impressive. For the first time one is almost invited into the mix.  I have a thought and a question.  On the spacial expansion in the stereo image, I found myself sparing a thought for the one person who probably could not "get it": Brian.  Forgive me, I collapsed it to mono to see what he would probably hear: a clearer, sharper reproduction. The question: is the effect of the restoration of the leading edge of the sound waves restoring what would have been heard over the studio monitors at final mix or does it restore clarity that would have already been eroded by tape transfers and bouncing prior to final mix-down?Best regards,
Keith

COMMENT:  The process of restoring leading edge harmonics does, in theory, look back to the first generation of recording and on up-through the last (in analog) and to the result of A2D and D2A conversions (in digital). The outcome should be more in keeping with what the engineers and artists hear in the control room directly from microphones in the studio.

Leading edge harmonics are the cues used by the human brain to clarity and separate several similar sonic events. They're like "markers" the brain uses to make sense of the auditory input it receives from the tympanic membrane (ear). Remember the ear does not hear sound. It only senses barometric pressure changes and converts them to electro-chemical signals. But due to a phenomena called "latent synaptic transfer" or the delay in time it takes a nerve signal to pass from one synaptic connection to the next, the ear uses a coded methodology to send sonic signals to the brain, otherwise it would not be able to pass signals higher than 1,200 Hz. What we perceive as sound is purely happening in the brain and not in the atmosphere. Sound is a mental phenomenon or a mental projection externalized, that is, only existing between your ears although presented to you as if external to your body. One important cue of this coded methodology to which the brain responds is the first crest of the wave of barometric pressure change it receives. This first crest, continues to undulate and becomes a tone. But the first shape of the wave front -- the leading edge -- is the most significant. It establishes the “pattern recognition” used by the brain to recall any sonic event.

Due to phase anomalies in copying, physical deterioration over time, magnetic creep from storage, and digital dither or time-code flutter in conversion, the leading edge may be eliminated or depressed so that the body of the wave form becomes the leading edge, removing the best cue for clarity from ever reaching the ear, unless it is restored. This is NOT done by turning up the treble -- that is a false clarity that soon fatigues the brain and makes listening less than musical sounding. Some of these so-called "new releases" in HD or from mystical Japanese mastering houses have so much top end it makes my teeth grind. Besides not having the playback half of the matrix, they lack the very core of the production. But they also tend to follow the current style of today by adding too much top end in the name of clarity. In reality what they are really doing is upsetting the musical balance and not clarifying anything. It's like adding more sugar to a cake or coke. At first it tastes better because it's sweeter, but soon you want "the real thing" and New Coke is discarded in favor of the Classic stuff.

There are about twenty songs finished and waiting on their respective editorial comments to be added. As they become study-videos, compare – side-by-side --  some of their sound with the new re-issues. You will at first think the new releases have more transparency, but as you listen more and more it becomes a thinness to the sound. The robustness and fullness that makes for a more musical resonance is lacking. The alternate solution, leading edge restoration, will over time sound more pleasing, because it resembles what the brain recognizes as a “musical model” more in keeping with a natural representation. That’s why I say, if it sounds a little dull to what you are use to hearing, just turn it up a notch or two. That will bring the loudness of the restored-leading-edge-balance in-line with the false loudness that treble boost brings, however with it will come a more musically satisfying listening experience – and in the end it’s the music that counts.

     ~swd

[Stephen W. Desper]

Once again, a fascinating and deeply pleasurable listen. Thanks so Much Stephen and Will C for the GOK video, it's great to hear it put through the device, it sounds so fantastic.

And I appreciate the way you have panned the mono mix left, just as Brian would have heard it. 

COMMENT:  Since you like the true one-side-mono sound, DO take the time to move close to the loudspeaker, as Brian did. I mean really close. (Watch your volume, it does not need to be loud). With your head just a few inches from the speaker and turned so that one ear hears most of the sound, see how many details you can now hear, just from the one speaker. All kinds of nuances will become apparent. It's a good exercise in listening technique.    ~swd

[Sie W]

Many thanks to Stephen & Will C again.
Stephen I found this picture -
http://www.gearslutz.com/board/attachments/so-much-gear-so-little-time/306216d1345733523-sinatras-vocal-chain-chamber.jpg

Is this like the chamber that yourself and Carl visited that day?, it's the only image I could find when I searched for it.

[Stephen W. Desper]

Many thanks to Stephen & Will C again.
Stephen I found this picture -
http://www.gearslutz.com/board/attachments/so-much-gear-so-little-time/306216d1345733523-sinatras-vocal-chain-chamber.jpg

Is this like the chamber that yourself and Carl visited that day?, it's the only image I could find when I searched for it.

COMMENT:  Yes, that looks like #3. Carl sang while standing by the speakers as I moved to the far end. In the dark you would think you were in a train terminal or cathedral. Other chambers looked the same, but with different speakers and microphones.    ~swd

[Phoenix]

No luck getting in with either Internet Explorer or Chrome.  Any suggestions?

COMMENT: By "getting in" do you mean loading in Vimeo or trouble with the password?  ~swd

Trouble with the password.  I tried copying and pasting, as well as typing it by hand, in two different browsers.

[Will C.]

Hey Phoenix, sorry about the delayed response!  Since multiple people have successfully viewed the video, I'm thinking this shouldn't be a password issue.  Can you let me know which browsers you've used so far?  Are you typing case sensitive?  With the proper spacing?  Hope you have a chance to check this stuff out. 

[Ram4]

Amazing stuff once again with GOK.  Thank you for taking the time and sharing!  I would love to have this special mastering on the entire catalog one day, even if it's just downloads.  It's fun to see you break down any tracks of the band, though I admit I am most interested in hearing more from the era that you were the engineer on.  That being said, I'd love to hear something off Wild Honey put through the magic machine too...  The live track at the end was a nice surprise.  I love the story behind the recording with you outside. 

It always amazes me how some live recordings have been made under strange circumstances.  Neil Peart of Rush wrote in the liner notes of the Rush in Rio live CD that they had no time to do a soundcheck or test the video cameras for their final show of their 2002 tour - played in front of 40,000 people.  They had waited until the last possible gig to record and film (with 20 cameras) and they couldn't even test ANYTHING due to rain in the morning and afternoon.  It turned out to be a solid performance and the entire show was released.  But so many things should have and could have gone wrong for them, just like you couldn't see the band playing or they changed the setlist on you.  I'll give you one more where things didn't work in one instance - Led Zeppelin recorded and filmed their January 1970 gig at Royal Albert Hall.  It was recorded to 8 track (using only 7 tracks) and during the song Heartbreaker the audio tape ran out.  You can hear it on the outtakes - right in the middle of the solo.  How could they not be prepared for that?!  Killer version too. 

[GlenDinning]

Stephen, I have just spent a happy time listening to the new mixes, especially Heroes and Villains.  The clarity delivered by the two processes you allude to is impressive. For the first time one is almost invited into the mix.  I have a thought and a question.  On the spacial expansion in the stereo image, I found myself sparing a thought for the one person who probably could not "get it": Brian.  Forgive me, I collapsed it to mono to see what he would probably hear: a clearer, sharper reproduction. The question: is the effect of the restoration of the leading edge of the sound waves restoring what would have been heard over the studio monitors at final mix or does it restore clarity that would have already been eroded by tape transfers and bouncing prior to final mix-down?Best regards,
Keith

COMMENT:  The process of restoring leading edge harmonics does, in theory, look back to the first generation of recording and on up-through the last (in analog) and to the result of A2D and D2A conversions (in digital). The outcome should be more in keeping with what the engineers and artists hear in the control room directly from microphones in the studio.

Leading edge harmonics are the cues used by the human brain to clarity and separate several similar sonic events. They're like "markers" the brain uses to make sense of the auditory input it receives from the tympanic membrane (ear). Remember the ear does not hear sound. It only senses barometric pressure changes and converts them to electro-chemical signals. But due to a phenomena called "latent synaptic transfer" or the delay in time it takes a nerve signal to pass from one synaptic connection to the next, the ear uses a coded methodology to send sonic signals to the brain, otherwise it would not be able to pass signals higher than 1,200 Hz. What we perceive as sound is purely happening in the brain and not in the atmosphere. Sound is a mental phenomenon or a mental projection externalized, that is, only existing between your ears although presented to you as if external to your body. One important cue of this coded methodology to which the brain responds is the first crest of the wave of barometric pressure change it receives. This first crest, continues to undulate and becomes a tone. But the first shape of the wave front -- the leading edge -- is the most significant. It establishes the “pattern recognition” used by the brain to recall any sonic event.

Due to phase anomalies in copying, physical deterioration over time, magnetic creep from storage, and digital dither or time-code flutter in conversion, the leading edge may be eliminated or depressed so that the body of the wave form becomes the leading edge, removing the best cue for clarity from ever reaching the ear, unless it is restored. This is NOT done by turning up the treble -- that is a false clarity that soon fatigues the brain and makes listening less than musical sounding. Some of these so-called "new releases" in HD or from mystical Japanese mastering houses have so much top end it makes my teeth grind. Besides not having the playback half of the matrix, they lack the very core of the production. But they also tend to follow the current style of today by adding too much top end in the name of clarity. In reality what they are really doing is upsetting the musical balance and not clarifying anything. It's like adding more sugar to a cake or coke. At first it tastes better because it's sweeter, but soon you want "the real thing" and New Coke is discarded in favor of the Classic stuff.

There are about twenty songs finished and waiting on their respective editorial comments to be added. As they become study-videos, compare – side-by-side --  some of their sound with the new re-issues. You will at first think the new releases have more transparency, but as you listen more and more it becomes a thinness to the sound. The robustness and fullness that makes for a more musical resonance is lacking. The alternate solution, leading edge restoration, will over time sound more pleasing, because it resembles what the brain recognizes as a “musical model” more in keeping with a natural representation. That’s why I say, if it sounds a little dull to what you are use to hearing, just turn it up a notch or two. That will bring the loudness of the restored-leading-edge-balance in-line with the false loudness that treble boost brings, however with it will come a more musically satisfying listening experience – and in the end it’s the music that counts.

     ~swd

Thanks Stephen,
There must be considerable challenges in reconstructing the leading edge.  For example, two takes of the same vocal recorded using different microphones would produce distinct versions with subtle but noticeable sonic qualities/textures.  How do you address that, even where you know the original equipment used?
Keith

[Stephen W. Desper]

Thanks Stephen,
There must be considerable challenges in reconstructing the leading edge.  For example, two takes of the same vocal recorded using different microphones would produce distinct versions with subtle but noticeable sonic qualities/textures.  How do you address that, even where you know the original equipment used?
Keith

COMMENT: You are looking at it from a "sound" view point. Rather look at it from the "signal" point of view. There may be many sources of sound, but when combined together they only form ONE LEADING EDGE. There is only ONE signal in each left or right channel. Each of those channels has only ONE leading edge that moves the speaker cone.

To address your question; leading edge restoration is more of an overview correction. Corruption of a leading edge is consistant throughout any song. There is little, if any, subjective value judgement within the song or a need to change its correction within the song. It is all scientific or objective. once set.

Yikes!!  The machines have taken over!!   ~swd

[randolphr]

I am absolutely floored by what I've heard and enthralled by what I have been reading here.

Thank you so much Stephen.

I wish you the very best and look forward to any & all things you have to share with us.

Sincerely,
Randolph Roeder

[Myk Luhv]

Maybe you address this somewhere in your book or elsewhere in the thread, Stephen, but I'm curious about a general approach to recording with Brian and company: Assuming Brian (or anyone else in the group for that matter) was not himself also a competent audio engineer, how did he communicate to you the ideas that shaped the sounds heard of the recordings you did for him? Would he just go "There should be more delay on those horns" or "Put more echo on my voice" and then you'd apply this or that specific filter or effect that you think he might like, and use something else if he didn't? (Sort of like how he seemed to work with the session musicians or outside arrangers during recording sessions.) Or was it more involved than this might suggest?

[egon spengler]

I still have much, much catching up to do in my Beach Boys research, and have been meaning to get around to reading the Honored Guest threads for some time. I've been contemplating recording a Cool Cool Water cover lately, and after studying the track for a couple months, it hit me a couple days ago that there may be some insight into the track in this thread. I had absolutely no idea what a treasure trove I was about to find! Mr. Desper (and Will C.), I literally cannot possibly thank you enough for posting the in-depth CCW study. To get to hear such a complex, incredible piece of music and recording broken apart and reconstructed is beyond magnificent. I could listen to this kind of thing forever and never ever get tired of it. I would go on, but suffice it to say that your work (in the study and beyond) is absolutely invaluable. I also have a few of questions, if you'd be so kind as to answer.  

1) While recording CCW, did Brian ever toy around with including a Child Is Father of the Man section? On The SMiLE Sessions (disc 4, track 15, "Cool Cool Water (Version 2)"), after a couple rounds of the CCW "part 1" part, Brian plays the same variation of the "Child Is Father" chorus that the Boys recorded vocals over in April 67. The same Child Is Father riff is played during the Love To Say Dada sessions before it falls apart. I'm very interested in how far this idea was taken before it was finally dropped.
2) How did you get access to the original recordings to do the study? Is it from copies of the original multi-tracks?\
3) You've mentioned possibly reprinting Recording the Beach Boys in the last few months.  Any movement on that front? There is clearly significant interest for it in this thread, and with social media, Kickstarter, and other outlets, it would be much easier to spread the word and find a wide market for it than during its first run.


Thank you again for everything you've done for this community!