Loving this thread and a great piece of writing - thanks Matt too for your recollections.

I was at the second show and can remember feeling quite impatient waiting for Smile to start but feeling so nervous.

For the next 47 minutes I was spellbound and shed a few tears as tunes came and went in the three movements - the Wonderful >Surf's Up segment was particularly magical.

And then there was the standing ovation - I have never heard anything like it - before or since - as Brian took the plaudits. I just went on and on as everyone recognised what a personal and musical achievement it was.

I saw Smile again in Oxford and Bristol and each time it moved me to tears.

Thank you Brian most of all for having the guts to finish it and thanks to all those musicians involved who brought it to life.

There will never be another Smile as broad as Brian's that night in the RFH

Those B/W pics look too early - pre 66/67

At the mo all I have is the photo and a little bit of info (as above from a Friend) - as soon I get more I will post

http://www.facebook.com/photo.php?fbid=10151520752691401&set=a.105331031400.98115.684221400&type=1&theater

I'll get one organised

There's no specific 'SMILE Console' per se ... Brian used whatever desks were at the studios around LA at the time. These were all essentially custom-built. I have some info on the console at Columbia somewhere. The one at Western was Universal Audio. I doubt if one of those consoles were in the UK it would be referred to as the 'SMILE mixing desk' ... because there would also be countless other classics recorded and mixed through it!

Brian used Western, Columbia and Sunset Sound mostly I believe. Wally Heider's a little ater on.

Now there WAS a specific 'SMILEY SMILE' mixing console ... that would have just been for recording though ... it was actually mixed at one of the proper studios (no one can confirm where!)

I understand this one was built for Frank Sinatra and sold to the Beach Boys - any help

A friend is recording through it today!!!

Is it UA? Doesn't really make sense man. The Beach Boys wouldn't have bought a console during the Smile Sessions, sorry! The mixer used for Smiley was a Gates broadcast job, probably rented. The one they bought for BW's home studio around '68 was a custom Quad-8 board, made to Desper's specs I believe.

I think it was Western 3 - probably it was a question of the board being made for Frank and Brian just used it as it was there

There's no specific 'SMILE Console' per se ... Brian used whatever desks were at the studios around LA at the time. These were all essentially custom-built. I have some info on the console at Columbia somewhere. The one at Western was Universal Audio. I doubt if one of those consoles were in the UK it would be referred to as the 'SMILE mixing desk' ... because there would also be countless other classics recorded and mixed through it!

Brian used Western, Columbia and Sunset Sound mostly I believe. Wally Heider's a little ater on.

Now there WAS a specific 'SMILEY SMILE' mixing console ... that would have just been for recording though ... it was actually mixed at one of the proper studios (no one can confirm where!)

I understand this one was built for Frank Sinatra and sold to the Beach Boys - any help

A friend is recording through it today!!!

I am hoping that someone can tell me what happened to the various mixing desks that were used for the Smile Sessions in 66/67 - I believe there is one in Bath UK - any help greatly appreciated

Thanks

Having to the five tracks on the guardian website I have to admit I was wrong about this reunion

It ain't Pet Sounds or Smile but damn its pretty good in a great number of places - they should be proud

Really enjoyed that

`Interesting to see John Cowswill using a metronome

Congratulations to Aegir

This is indeed a parody - live quantisation is impossible - you would have to delay everything for a bar so the computer could catch up - Mr Hickey is right

Its just that I got fed up with all the autotune stuff and wished it was April again

Apologies to anyone who may feel offended

What about Nelson Bragg? He's playing drums and percussion right next to Cowsill.

Nelson Bragg plays percussion and will be using Cowswill as the time keeper

Could you possibly tell us how that works?

Well simply

Song bpms are fed into whatever processor is being used and also the level of quantization required - quarter notes, eighth notes, 16ths or whatever depending on time signature, tempo etc - drums are fed into this and quantised as they are played - so if for example a kick is late the processor will move it forward to where it should be based on the grid and vice versa - the level set will depend on how good the drummers time is - over quantize and it will sound absolutely sh*t - probably quarters or eighths are best because of the space between them - 16ths and 32nds will cause a problem because of how accurate drummers need to be at this level and the little space between each virtual note

How would that even work?

I've never heard of quantising being used live, but assuming it can be done, how could it *possibly* have moved the kick drum so it would sound *early*? That would require a time machine.

I have absolutely no doubt that they're using every single bit of technology at their disposal to make the shows sound as clean as possible, whether or not the technology actually improves things, so I wouldn't put it past them to fiddle with the feel of one of the best live drummers I've ever seen, but what you're saying doesn't make sens unless I'm missing something...

Also, I don't hear any problems with the drum part in that, other than that he seems to be playing a little hard.

.......and rushing - hence the Q

But no auto-tune, right? 

What on the drums??

There is definitely some live quantization of Cowswill's kick drum pattern going on here - I am a drummer and I know what I am talking about - you can hear the "1 and" note is early and has obviously been moved by the AQS (Automatic Quantization Software) badly because its shifted it too much

http://www.youtube.com/watch?v=80mT5zgfthA

Proof at when the snare comes in

'K, just listened to the Dallas show (2nd gig), and Brian's leads on "PLMW", "YSGTM" and the new single - and if there's any auto tune on any of those, especially the latter, then I strongly suggest they sue whoever sold them the software, 'cause it ain't working.  

What I do hear is a mild chorusing effect and Jeff reprising his role as audio safety net. No AT.  

Ah, I can see the man in the striped shirt at the back mouthing "they patched it in after a few gigs because they realised Brian needed help". Sir, to you I say - rehearsals.

BOOM AGD - spot on mate

Darian is actually controlling a keyboard that makes Al Jardine move around like a real boy.

HAHAHAHAHAHAHAHA

You know, Mike sounds a bit processed on a few tracks of the Texas show too.

(ducks)

What ?? Processed in the face and lips???

(Ducks even further)

Is Al plugged in??

(Whoops)

[/quote]
This is exactly what we are all saying - the pitch correction is making Brian sound much worse than he would without it. On sustained notes, you can hear his voice "snapping" out of the note momentarily, digitally stepping down to another note very, very quickly and back up again, with none of the gradient/portamento effect that the human voice naturally has. Try using one of the aforementioned iPhone/Android apps and you will see what we are hearing in these videos.
[/quote]

Don't you think that would have all come out in rehearsal so if they had the idea in the first place they would have binned it

1. In rehearsal they would have worked out it doesn't work

I wish that were what had happened.  Apparently whoever made this decision thinks it sounds just fine.  That decision is now open to criticism.

2. BW's band is very close to Melinda and she ain't going to lose her job

I am not as certain as you that the band members have veto power over Melinda, assuming she likes the idea or is OK with it.

3. Monitors - you -tried harmonising with a crap singer - I am one and and would pity anyone trying to sing with me

OK.  Brian's voice is whatever it is at this point.  Those who have to harmonize with him - that's their job.  I'm not sure what you're saying - that he needs to be autotuned so he's easier to harmonize with?  That's a pretty different argument from saying that they cannot possibly be using autotune at all, which is what you seem to be saying the rest of the time.

4. Let's autotune mike

I'd rather not but knock yourself out

On the Melinda thing - I think his key band members would have/could have said to Melinda that AT wasn't working - I have no doubt she would have done something about it

Harmonising - I don't think they are using AT for all the reasons I gave above plus its a mega suicide note if they get found out

1. What's the point in having autotune if it doesn't work??

There is no point, that's why they should stop using it

2. His band will know that his singing varies from night to night and they will know all about autotune and what it can't do and what it can do - I think they would have said something to say it is a crap idea and won't work

They may not have a say in the matter, and they may need to avoid rocking the boat in order to keep their jobs.

3. I have no doubt all the singers on stage would have Brian in their in-ears otherwise they wouldn't know how to harmonise with him and in Jeff's case support his leads - it really would sound rubbish with no monitors

As has been explained, standard operating procedure would be to not have the autotuned signal sent to the monitors, but only to the audience

4. ML is also off a lot on many of the songs they are doing

That sucks, but at least you can hear Mike's voice

1. In rehearsal they would have worked out it doesn't work

2. BW's band is very close to Melinda and she ain't going to lose her job

3. Monitors - you -tried harmonising with a crap singer - I am one and and would pity anyone trying to sing with me

4. Let's autotune mike

For Christ's sake, Bill, he's singing flat notes like crazy. Can't you hear those? Those are plain bum notes; they are not pitch-corrected.

I explained that: "So for example, if a song is in C major, and Brian attempts to sing an A (which is in the key of C) but he's 51% flat, the machine will cause it to come out as an A-flat (not in the key). So yes, he's still singing wrong notes, but the machine is making them worse."

[/quote]

And they are not at all a half-step off. He's flatting plain and simple. C'mon man, you gotta hear that.
[/quote]

Please link a Youtube video, with the precise time at which you hear a flat note which is not a half-step (or whole-step) off, and the word he's singing when you hear this, and I'll get my guitar tuner ready,
[/quote]

Bill - so why use Autotune if its going to put Brian out of key anyway - doesn't make sense

http://www.youtube.com/watch?v=JU8l5WmUTAw&feature=relmfu

YSGTM-- especially between the 5 and 7 seconds area-- whoa, man...anyone who doesn't hear it there needs their ears cleaned. He sounds like Cher with her batteries in backwards.

There are 12 notes chromatically altogether, and 7 in any given scale. That means if the Autotune is set chromatically (which it evidently is), there are plenty of extra notes there that don't even belong in the key. So for example, if a song is in C major, and Brian attempts to sing an A (which is in the key of C) but he's 51% flat, the machine will cause it to come out as an A-flat (not in the key). So yes, he's still singing wrong notes, but the machine is making them worse.

Consider-- Brian, who always sings slightly out of tune at his solo shows,  almost NEVER sings just slightly out of tune in these recent videos.  A given note is either exactly and completely perfectly in tune, or it's exactly a half-step off (generally flat), or it flutters between the two options.

Someone needs to slow the audio to half speed (without a program that smooths note transitions), check the frequencies with a tuner, compare to s solo show, and post the results. Autotune (or some other brand of pitch correction) will absolutely and positively be evident, I (who have perfect pitch, and who tunes pianos by ear) promise you. I'd bet the proverbial farm on this.

You are right, Bill, there is very clear pitch correction on Brian's voice, but the problem here is that a) some people don't have the ears to hear it, and...

B) Some people apparently can't enjoy the Beach Boys concerts if there is autotune on Brian's voice, so they must fight a battle with everyone else, saying that there is absolutely no pitch correction, and they are 100% sure. Very strange.

In the end, it sucks and is disrespectful to Brian, but it isn't a huge deal; it is not a turd in the punchbowl of the reunion but more just a bit of fecal matter. In other words, the punch still tastes fine, and I will enjoy it until I get e. coli poisoning.

/Thread

IMHO it is a VERY BIG DEAL because the Beach Boys are famous for their harmonies and having the best of voices and here they are using autotune - can't you get it - its like finding out Eric Clapton has been miming all these years or John Coltrane's parts were played by someone else - its a big story waiting to happen and I can't believe the BBs management hadn't thought of that.

A scummy journo could have a field day

http://www.youtube.com/watch?v=JU8l5WmUTAw&feature=relmfu

YSGTM-- especially between the 5 and 7 seconds area-- whoa, man...anyone who doesn't hear it there needs their ears cleaned. He sounds like Cher with her batteries in backwards.

There are 12 notes chromatically altogether, and 7 in any given scale. That means if the Autotune is set chromatically (which it evidently is), there are plenty of extra notes there that don't even belong in the key. So for example, if a song is in C major, and Brian attempts to sing an A (which is in the key of C) but he's 51% flat, the machine will cause it to come out as an A-flat (not in the key). So yes, he's still singing wrong notes, but the machine is making them worse.

Consider-- Brian, who always sings slightly out of tune at his solo shows,  almost NEVER sings just slightly out of tune in these recent videos.  A given note is either exactly and completely perfectly in tune, or it's exactly a half-step off (generally flat), or it flutters between the two options.

Someone needs to slow the audio to half speed (without a program that smooths note transitions), check the frequencies with a tuner, compare to s solo show, and post the results. Autotune (or some other brand of pitch correction) will absolutely and positively be evident, I (who have perfect pitch, and who tunes pianos by ear) promise you. I'd bet the proverbial farm on this.

For Christ's sake, Bill, he's singing flat notes like crazy. Can't you hear those? Those are plain bum notes; they are not pitch-corrected. And they are not at all a half-step off. He's flatting plain and simple. C'mon man, you gotta hear that. It's insane; people claim to have sophisticated hearing as to detect a ptich corrector, but cannot hear how many bum notes he's singing. On occasion, when this has been pointed out, some guys responded that the auotune will not correct his pitch anyway-- now that's the ultimate absurdity.

By the way, he sang this better at JazzFest. And no voice wobbling to be detected in the venue.

Yep its just not so good singing but........

1. What's the point in having autotune if it doesn't work?? - Bill you should have been asked

2. His band will know that his singing varies from night to night and they will know all about autotune and what it can't do and what it can do - I think they would have said something to say it is a crap idea and won't work

3. I have no doubt all the singers on stage would have Brian in their in-ears otherwise they wouldn't know how to harmonise with him and in Jeff's case support his leads - it really would sound rubbish with no monitors

4. ML is also off a lot on many of the songs they are doing

5. Bill - get your farm ready ;-)