The Smiley Smile Message Board

I've probably only listened to stereo Pet Sounds twice. And one of those times is right now. I really don't like it at all. One of the things I like about Pet Sounds is how all the instruments seem to be part of one cohesive whole. In stereo, it sounds like each instrument was recorded separately (even though I know that's not the case). And I think perhaps the levels are different. Some elements sound louder or quieter than others.

There are a few elements I never noticed before, which is cool. This is the version I'd listen to if I wanted to dissect the recordings.

But overall, I like the mono version much better. Maybe it's just because I'm so used to it, as I've been listening to regularly for six years (which may not seem like a lot to you old-timers).

What are other people's opinions on this?

I enjoy listening to it when I do, but I rarely do.

Typically I prefer stereo music to mono. But for whatever reason, I do prefer the mono version of Pet Sounds, and maybe--probably?--it's just that particular stereo mix. Maybe if Brian Wilson heard through both ears and made the stereo mix back then, I'd have preferred it. I don't know. But anyway, that's my preference. Stereo is OK for me, but mono is better.

Me, I'm just the opposite. I can't listen to mono at all,as it just sounds muddy & flat....except for "I'm Waiting for the Day", which IMHO sounds 1000x better mono than in stereo.

When I listen to it, also infrequently, the isolation of the vocal channel is interesting, as it re-
veals some occasional imperfections that I'm surprised that Brian was satisfied with (not to
question the master), which are hidden in the mono mix. Actually, only one comes to mind, in
the second verse of "You Still Believe In Me'' when he sings a clearly off-key note (I don't remember which word.)

I guess the overall take stood out as the best so the bad note was tolerated, and it isn't de-
tectable in the mono mix.

(Or I could conceivably have a tin ear.) :o :P

Stereo just doesn't feel right. Brian admitted to me he didn't care about it at all. It's fun as a novelty but that's about it.

Mono.

On the whole I find a greater degree of clarity in stereo.

I go back and forth. Now, I prefer the stereo version but not too long ago I preferred the mono.

I feel the backing vocals are a little more noticeable in stereo, and that is what I like.

HOWEVER...For EVERYTHING (except Surfin' USA for some reason) before, say, TODAY I think the mono is far, far, far superior. So much that I have to make albums with the songs from the box set mixed with the songs from the (stereo) reissues.

 I generally prefer the new stereo mixes of Today and Summer Daysslightly over the mono.

I like mono LPs for a lot of releases, but Pet Sounds isn't one of them. The Today! mono mix is perfectly fine, but to my ears, the Pet Sounds mono mix is just about one of the worst I've heard. but that's just my personal opinion.

Stereo by far. Normally I am all for historic truthfulness, but in this case... the mono issues, even the best, perhaps sound really in your face, but to my ears still have some sort of AM muddiness. Switching from mono to stereo for me is like switching from AM to FM. Worlds open. Rivers begin to flow. Flowers bloom. A butterfly lands on my leg. Yes, it's the creation of the world, folks.

I'm a big fan of mono mixes, especially original mono 45 mixes of many 60's hits which are unfortunately now lost forever (except to those collectors who own the records).  However, I prefer the stereo Pet Sounds.  The mono mixes were done hurriedly and carelessly by Brian and Chuck (Brian has commented on this several times and has said he doesn't know why he rushed the mixes) with mistakes (talking, etc.) left in and a muddy overall sound that some obviously like but I feel do not do the songs justice.  Part of the problem was how he recorded it - 4 tracks of instrumental, including the most "players" he'd ever used, bounced down to one track of an eight track tape.  Sometimes two bounces to get down to one track.  It severely limited the options once the vocals were done - if some instrumental parts were buried with the vocals, he couldn't bring them up without the whole instrumental track going up in volume.  Again, according to Brian the muddy mistake laden mono mixes were NOT intentional, they were rushed.  One of the musicians is quoted in the PS box set booklet about his disappointment in the mixes after all the work Brian put into the tracks.

So I just don't get the slavish devotion to the "original mono mixes" - they just weren't that great to begin with!  However, they are historic and they're the only mono mixes we're ever going to get (no one's proposed that a new mono mix from the multi's be done).  Brian definitely wanted to mix it in mono to control the listener's experience and take advantage of combining instruments in new combinations to produce new sounds - the Spector influence, and some of that is definitely lost in the stereo mix.  But you gain the increased clarity, dynamics, soundstaging, detail and resolution that is lacking in the mono.

I wonder why Capitol didn't have Chuck make stereo mixes of Today, SDSN, and Pet Sounds - granted some of them would be a little wacky with not much to work with instrumental wise (usually just an instrumental overdub could be on one channel, the rest of the instrumental track on the other) but at least there could have been a centered track with stereo vocals on everything.  Did some new edict come out of Brian not to do it, or was duophonic cheaper to do than pay Chuck to do 2 mixes?

I think it's twofold.

1) If it's what a person is used to, or came to know first, it is often (not always) what the person will prefer.

2) Some people are obsessive about things. It's more a fetish-collector issue than a musical one.

The stereo versions of the instrumental trax are incredible...IJWMFTT is unreal...heck, they all are. I very much like the talking from the original mono mixes. The lead vocal on mono WIBN seems to break up on the peaks. I thought the stereo mixes were well done. The mono has a tight sound while the stereo breathes a little bit. Both have their pros and cons though.

Anyone listen to stereo Pet Sounds on headphones on a regular basis?

BicycleRider answers his own question as to why no stereo mixes were done in 1966:

It was not possible in those days to do any kind of decent true stereo mixes once those bounce-downs were done, beyond instruments in one channel and vocals in the other, like the first Beatles LP and most of the mid-sixties Liberty Records productions (i.e., Gary Lewis and the Playboys, Bob Lind, etc.).  And sometimes new vocals would be added on the fly in the mono mixdown, as happened on God Only Knows.  This was a common technique in those days, both the Who and the Zombies did it too.

Remember that for the Mark Linett mixes, the source backing track tapes and the vocal overdub track tapes had to be not just transferred to digital, but synchronized and speed-corrected to undo the effect of old multi-track tape decks running at slightly different speeds.   In the pre-digital era this was nearly impossible.  (George Martin and the Beatles figured out one way to do it for Sgt. Pepper, but soon thereafter better multi-track tape decks came along).  And again, as long as the records sold, true stereo could take a back seat.  Yes it was the general practice to do both mono and stereo mixes, but not always, and many top-40 hits of the sixties only sport mono mixes, or were not re-done in stereo until the CD era.  Some cannot be done whether you like it or not because the session tapes are gone (i.e., GV, A Whiter Shade of Pale). I would be interested to hear the historical perspectives of Mark or Mr. Desper on this.

PS:  Stereo Pet Sounds is now my default listening mode, I love hearing it all spread out.  I respect the original mono and won't turn it off when it comes on, though.

I always thought the modern stereo mix of PET SOUNDS complimented and improved the album and brought it to life as the original mono mix always felt flat. BUT, the DVD-A version that contains the mono mix is absolutely superb. The mono mix now has snap and punch to it that was always lacking.

Regards,
Cal aka "Beatle Bob"
:)

Mono for me. I can't even consider listening to "You Still Believe in Me" in stereo at all. Did once and regret it to this day. "Here Today" also loses a lot of punch in the stero incarnation. I must admit that I do listen to "I Just Wasn't Made for These Times" in stereo because the Spanish backing vocals are louder and I love those, but still that's only sometimes. Linnett did a good job on the mixes for sure, but he (admittedly I'm sure) could never do the sensative, passionate mix that the 66 Brian could do.

I bought the DVD-A version last year and still haven't played it yet...waiting till I get true surround capabilities. Gives me something to look forward to.


That's very dramatic. It's not that bad.


Agreed...plus the talking fits perfectly.

Eh, I prefer it in stereo. To me, an album like Pet Sounds is an album that NEEDS to be in stereo. And like Bicyclerider said, the original album was mixed so quickly and without a whole lot of care, and I think it shows. I do like the mono mix, I think it needs to continue to exist alongside the stereo mix for history's sake, but I just prefer it in stereo

I think the stereo mix was very tastefully done.

I even enjoy the "errors" of the stereo mix. Brian's vocal during the bridge of "Wouldn't It Be Nice?" beats Mike's, I think "You Still Believe In Me" sounds much better and less cluttered with a single track lead vocal, and the ending of "God Only Know" is just a much better performance than on the original mix.

*dodges bricks*

the original mono mixes have more mystery and artistic intrigue.  all of the "mistakes" that were left in are artifacts from the moments in time when brian created it.

I do listen to both mixes often, but I think I prefer the stereo.  The mono mix is "historically" correct, but the stereo mix was done with an incredible amount of love and care... and it completely shows.  I do most of my listening with headphones, and I would suggest anyone who hasn't heard the stereo version that way to do so.  Its great!

I think this was mentioned earlier, and I agree with it: Pet Sounds is an album that needs to be in stereo.  Its so complex that listening to it in mono buries so many of its intricacies.  A simple "guitar drums and bass" album like "Surfin' USA" really loses nothing in translation to mono.  Pet Sounds loses a tremendous amount of detail.  To make matters worse, the mono mix isn't even a good one... the first time I heard Pet Sounds, my thought was, "it sounds like a band that's playing in the distance".  The volume of the mix is low, "in the mud" as an engineer would call it.

As I said, I do listen to the mono version from time to time, just to experience the original intent of the album.  The separation of stereo does take away from the Spectorian nature of the recordings. 

And then there's that weird noise on "I Just Wasn't Made For These Times" that's on the mono mix only.  I love it.  The noise happens during the second half of the first line- Brian sings "where I can speak my mind".  I don't know what it is, but it's a perfect accident.  A listen to the SOT reveals this sound appeared when the instrumental track was transferred from 4 track to the one track of the 8 track tape.

I realize that the limitations of the bounce down process limited the stereo possibilities of the tracks, but it didn't prevent stereo mixes of Surfin USA, Surfer Girl, Little Deuce Coupe, All Summer Long, etc.  So why the sudden change to duophonic?  The Beatles had the same limitations (actually more because they didn't get 8 track until after Brian was using it for SDSN, Pet Sounds and Smiley/Wild Honey) but always released stereo versions, even though they are pretty bad stereo (Rubber Soul in particular, sometimes with vocals one channel, instrumental another, etc.).

I always thought those Beatles stereo mixes were just them trying to be hip at the time. I'm not an obsessive Beatles fan, but boy could those albums stand a remix!

Even with more recording tracks, I think the BB's problem was that the instrumentation was so dense, and probably only being recorded on a few stereo tracks. I'm asuming we're talking 8 mono tracks, so minus four for the basic track and one overdub...than add the vocals, and they're running out of space. It would have been so cool to seem them in the studio back then though.

It's just that I always miss the double track. I know there was no way to fix that since the double was added at mixdown. Didn't mean to be really dramatic...

I use to listen to the duophonic version on vinyl and then I was crazy about it in stereo for a while. I do think mono however is one of the best ways to listen to it, like a lot of BB albums. SS is mono is something else!!

I do believe I'm going to give ol' stereo Pet Sounds a (headphones'd) listen today. I'm inspired. We'll see what happens. And by we, I mean I. And by see, I mean hear. And by what happens, I mean what happens.

I'll say this, it's a pleasure to listen to Brian's single-tracked You Still Believe in Me right now. I'm not saying I necessarily prefer it, but it's gorgeous, and a reminder how amazing his voice used to be. I know Carl tends to be the favorite, but for my money Brian was the best pop singer of that era.

OK, I'm not changing my vote: I prefer mono. But the thing is, threads like this really are great for bringing up things you haven't tried in a while. I don't know the last time I listened to PS in stereo. And whether I like it more or not (not), it is a cool perspective and fun way to listen.

I prefer the stereo, mainly because you can hear the instrumentation more clearly, bringing out intricate parts that were completely buried in the mono mixes.  Like Brian said in one of the booklets that came with the box set, more of what was there is there.  As others have said here, the mono mixes just sound muddy to me.  I appreciate them for their historical significance, and the fact that they are Brian's mixes, but they make the album sound very dated.

The stereo mix may not be the original artifact, but it was constructed with great respect for Brian and his original vision.  The only thing that really bugs me is the lack of Brian's double tracked lead on "You Still Believe In Me," but the other changes (like Brian on the bridge of "Wouldn't It Be Nice"...I can't stand Mike's singing on that part) don't bother me.  The clarity of sound just makes the whole experience better for me.   

The new stereo mixes of Please Let Me Wonder, Let Him Run Wild and Wendy on the Warmth of the
Sun comp are absolutely awesome! Today always seemed a little muddy to me, and there's a SOT boot with outasight stereo mixes of She Knows me Too Well, I'm So Young, Don't Hurt my Little Sister
and In the Back of my Mind that's terrific. :)

Has anyone done a needledrop from a pristine version of the duophonic  lp version of PS? I know Dr. Ebbetts and Mirror Spock haven't, but does this occur in the Beach Boys collectors world at all like it does for the Beatles vinyl?

Regards,
Cal
:)

To answer BicycleRider:
I realize that the limitations of the bounce down process limited the stereo possibilities of the tracks, but it didn't prevent stereo mixes of Surfin USA, Surfer Girl, Little Deuce Coupe, All Summer Long, etc.  So why the sudden change to duophonic?  The Beatles had the same limitations (actually more because they didn't get 8 track until after Brian was using it for SDSN, Pet Sounds and Smiley/Wild Honey) but always released stereo versions, even though they are pretty bad stereo (Rubber Soul in particular, sometimes with vocals one channel, instrumental another, etc.).

The early BB recordings were often done in 2 or 4 track form which permitted stereo mixes, at that time done as a matter of course by the studio engineers once the mono versions were done.  Once Brian decided everything would be mono only he used the multi-track decks (4 track, then later 8 track) to do a bounce-down pre-mix of the instrument tracks to one mono track, then have the remaining multiple tracks handy to layer vocals on.  As Desper, Britz and others have said, that was one of Brian's innovations.  To go back and do a new "stereo" instrument mix, then layer on the vocal tracks recorded on the other overdub reel in stereo, would have been out of the question as techincally impossible (and would cost too much money back in the day).  Like I said, some version of this technique was in common use by 1966.   For example, RCA was too cheap to buy an 8-track deck so the Monkees had to do "Headquarters" on 4-track, bouncing the instrument mixes to two tracks to free up two other tracks for vocals, solos, etc., then mix.

Not really - although "stereo" versions of Smiley Smile and Wild Honey were released on boot, which were the electronically rechanneled versions.

What we need are needledrops of Brian's original mono mixes of Surfin USA, Surfer Gir, Little Deuce Coupe, Christmas album, Shut Down Vol. 2 and All Summer Long, all of which have never been released on CD!

Oh boy, I'm surprised this hasn't been done yet! I'm trying to coax some folks on the Bootlegzone that do needledrops eventually to do some early Beach Boys titles. The Beatles vinyl mixes are well represented over and over -- yet  NOTHING from the Beach Boys (or at least of high quality) so far. Argh!

Regards,
Cal aka "Beatle Bob"
:)

I fell in love with the mono mix first, but when I reach for the album now, I always go for the stereo version.

Hearing PET SOUNDS in stereo is like seeing the Sistine Chapel after it was restored. The original was still amazing, but all sorts of things became visible/audible after the restoration/remix.

Hi, new here..

I respect the mono original, but my main listening environment is at work via headphones and the Stereo remix is perfect in this regard. The sound is far more dynamic and revealing.. the mono version sounds so closed-in using direct comparision.

Never heard the 5.1 version, maybe this would take it to the next level (perhaps not..)

Is it true that there is ANOTHER remix/remaster of Pet Sounds on it's way?

Those who have say it's more 4.0 than 5.1.

Back in the 70's I used to listen to Pet Sounds only on headphones - the Duophonic one - Have all the copies on CD, PS Box set, and felt cover edition etc...
I have noticed that there are little details missing here and there (i.e. I used to get a kick out of Brian yelling "STOP THE TAPE!!" in WIBN as the tempo is slowing down). If the Duophonic version was created using the original mono mix then this would explain why the mono mixes on the CD's have never rang 'true' to my ears.  (Did the original L.A. master have this WIBN artifact prior to it being 'damaged at Warner's??) Mark's stereo version is great, especially on a good pair of phones.

On the mono version of IJWMFTT about 5 seconds in there is a strange organ type sound that I do not hear on the instrumental or stereo versions of this song. Anyone know what that is? Or am I just hearing things.

That is a f#%$ng great idea! Why the hell didn't they do that for the 40th anniversary?

I was a big fan of Pet Sounds from the mono version that I had but when the boxset came out the stereo version absolutely blew my mind, just hearing WIBN in headphones was a revelatory experience, I still listen exclusively to the stereo version as that's the one my ears prefer.

I'm no purist so any stereo remixing is fine by me, I even liked the Beatles remixed stuff (Yellow Submarine Songtrack, Let it be naked etc), and would rather they remix their whole catalogue like that, its not as if the originals are going to disappear.

On the subject of remixing though I wasn't generally a big fan of the recent 1970s Genesis remixes, I was excited to hear them but those albums sound pretty amazing as they were really (especially 'Selling England by the pound') so the new ones didn't do much for me.

I'll cast my vote for the stereo mix of Pet Sounds.  Like others have stated, I respect Brian's original mono mix, but hey, that was the 60's and stereo was still somewhat of a novelty.  We're in the '00s now and stereo has been the norm since the very late 60's. 

I love the spacious feel of the stereo mix;  it makes me feel like I am right there in the studio.  It's an experience, an event!

BTW, I just read a tutorial by Steve Hoffman over on his site where he has some pretty negative things to say about the stereo remix of Pet Sounds, and apparently that is why it is generally dissed on his message board.  I've got a great deal of respect for Mr. Hoffman, but I have to strongly disagree with those comments. 

It depends on my mood, but I generally prefer listening to the stereo version.  More clarity, easier to pick out parts.

However, I'm not exactly a fan of the mix on a few tracks.  There's too much reverb put on the vocals, and it isn't spread out enough on a few tracks, particularly concerning the vocals.  I'd love to have access to the multis and create my own mix.  :-\

See, now THAT is what they should have done for the 40th Anniversary.  We already have enough mixes done by others, but allowing fans to remix the album to their liking would be incredibly innovative.

The stereo mix is the only one I ever listen to. It's so much clearer sounding than the muddy mono mix. Plus, I've got two good ears, why can't I use them both to their full listening potential?! There are still a few tracks from Today and Summer Days that still need stereo mixes, I love the stuff that's already been remixed for Sounds of Summer and Warmth of the Sun. Stereo Smiley Smile and Wild Honey would also be nice.

To me it all comes down to the tag of "God Only Knows" the original mono mix is as close to emotional perfection as there will ever be in pop music.

I'd vote for that! Big box sets of Pet Sounds (and SMiLE [wishful thinking, I know]) multitracks.

'Wouldn't It Be Nice' sounds far too muddy in the mono version...there is almost too much going on. The stereo version separates the instrumentals and really clears up the mud. Other than 'Wouldn't It Be Nice' I have to say that I prefer the rest of the cd in mono.

Listen for the double vocal in 'You Sill Believe in Me' or the background vocals in the chorus on 'I Just Wasn't Made For These Times' - stunning in mono. The stereo seems to take away the sound whereas it is all in one powerful place in the mono version. 'Let's Go Away For Awhile' is fine in stereo, but the drum line is far more powerful in mono.

I have to say that the sound engineers did a dang fine job with the stereo version. Unlike the Beatles 'left ear the vocals, right ear everything else' approach, you can really tell they took their time with this re-master. I love listening to the stereo backing tracks in the Sessions set, but I prefer mono when listening to the album as a whole.

To me, an album like Pet Sounds is absolutely meant to be heard in stereo. I've always preferred the stereo version, although the mono mix is definitely worth hearing and should be preserved in every possible way.

The mono mix always sounded, as others have said, too muddy. And honestly, I think the "God Only Knows" tag with the alternate vocals blows the original away in every possible respect - Carl's vocal beats Brian's on that part, Bruce sounds great in both, and Brian sounds bored and tired on the original but absolutely fantastic on the stereo mix. I'm gonna say I enjoy Brian's vocal for the "Wouldn't It Be Nice?" bridge more than Mike's, too - not out of principle, I just feel like Mike's vocal is too harsh for that section of the song.

Keep in mind Brian had to hastily mix this on did so a tiny little speaker - being a purist just to be a purist, in this case, doesn't really work. I won't say anyone is "wrong" for preferring the mono version, absolutely not, I've just seen people go on and on about why the stereo version is "wrong" in other threads.

The stereo version is amazing (I had only remember hearing 'Wouldn't It Be Nice' in a very awful mono form (from the 20 good vibrations cd) for years so you can imagine my joy when I first heard that song in re-mastered stereo).

I can see the pros of both versions - my main pros for mono are the vocals in 'You Still believe In Me' and the centered form of 'Let's Go Away For Awhile'

On a related note:

Does anyone know where I can find this version of 'Wouldn't It Be Nice':

http://www.youtube.com/watch?v=L--cqAI3IUI

Brian's voice sounds WAY more clear than on the mono-stereo cd release.

Based on the video I'd say this is from the American Band video - available on DVD.  They remixed several songs for this collection, not sure if this is one of them.

That's the "wrong mix" version that was issued on a variety of compilations starting in the 1980s.  It is on the "Still Crusin" album, as well as the "Made In USA" compilation (if I remember correctly).  You can always tell this version by the bridge... Mike's part comes in single tracked for the first two words, then it becomes double tracked.

Stereo isn't necessarily "better", just....different. Sometimes it's great(Heroes and Villains), and other times it goes horribly wrong(Let The Wind Blow from the Hawthorne set). To tell the truth, I've never really listened to the stereo version of Pet Sounds. Maybe once, that's it. I will say that it took the stereo mix of WIBN for me to really realise(or even pay proper attention) just how incredibly beautiful the backing vocals are during the fade out.

This may be a little off topic, but since we're talking about Pet Sounds I'll ask it here anyway. Years ago on another Beach Boys message board, somebody told me that there was a version issued on cd where Brian rerecorded parts of certain vocals. My question is, where can I find this version? What's the easiest way to get it?

Never heard of that before now. Suspect your informant was... misinformed.

A bit off topic, but hay - while we're on the subject of alternate Pet Sounds mixes, where can the "TOP, PLEASE" version of "Wouldn't It Be Nice?" be found? It sounds mildly amusing, I'd like to hear it.

Wrong song - "top, please" is embedded in, I think, "I'm Waiting For The Day", along with the camera dialog. It's isolated out as a hidden track.  ;)

I'm pretty sure "top, please" and the camera dialog is in "Here Today".

"Top please" is in "Here Today"... :thumbsup

MD...

I knew about the talking in "Here Today", but I swore, more than a few people talked about Brian shouting, "TOP PLEASE," during some incorrect mix of "Wouldn't It Be Nice?"

I just just listening to the promo cd of the Pet Sounds box set, and I discovered a few interesting things:

1. Brian is surprisingly flat/off key during You Still Believe In Me. Particularly during the first verse on the words "every time we". He's slightly off key on the second verse, but it's harder  to spot.

2. On the alternate version of God Only Knows with the acapella tag, two voices can be heard speaking. One voice can be heard at 1:06-07 into the song, and a much louder voice can be heard from 1:08-1:11 into the song.

3.Hearing Caroline, No in the "correct" speed is REALLY weird.  ;D

4. There is something I discovered in the stereo mix of the album version of I'm Waiting For The Day. During the line "You didn't think, that I could sit around and let him take you" somebody says the word "no" after the word "think". It happens twice. This is probably fairly well known. BUT, I found something else! During the words "take you" you can hear somebody go "Ha Ha". It only happens once. It's not a laughing type of "Ha  Ha"...it's actually on the beat of the music.

... which will teach me to actually play the CD instead of trusting to memory. Mea culpa.

On what disc is it isolated on?

The "Here Today" chatter is in the "Unreleased Backgrounds" track, found on the mono only release of the album.

Edit: It's also at the very end of the "Here Today" backing track on Disc 2 of "The Pet Sounds Sessions"

Thanks! I'll have to take a listen to it.

Thank you soooooo much! I love mostly every version I've heard, but I especially love the clarity of Brian's voice on this one.

A couple of folks have made reference to Brian Wilson's off-key vocals on You Still Believe in Me. I am reminded of a story told by Chuck Britz. Apparently he took it upon himself to stop a take which, as it stood, sounded awful to him. Brian explained that he needed to wait for the completed recording to hear how what he was doing actually worked. Britz said that after hearing the finished "product" he never questioned Brian's musical judgment again.

Listen to the completed version of You Still Believe in Me, either mono or stereo, and tell me it doesn't "work."

On balance, I much prefer the stereo version of Pet Sounds to the mono version. But I am surprised that a few people have praised the stereo mix for what I view are its shortcomings. For example, I missed Mike Love's vocal on Wouldn't It Be Nice and I'm glad it's been restored. I'm actually shocked that anyone would prefer the tag on the stereo version of God Only Knows to the original. Carl's vocal at the beginning of the tag sounds like a first run through to me. I much prefer Brian's.

By the way, I think the stereo mix of Let the Wind Blow is remarkable. I feel as if I've finally really heard the song. In fact, it would be great to hear the whole album in stereo.

I enjoy both mixes very much but I find the mono mix is so much more powerful both dynamically and emotionally.

The mono mix is Brian's Mona Lisa.
The stereo mix is Mona Lisa in 3D.

The stereo version has stripped of it the "noise" that comes in the beginning of "Wouldn't It Be Nice." Also, the very first snare and low tom hit in unison to commence the song after the intro sounds so distorted in the mono. In the stereo version it sounds so crisp and nice.

Superior on that end, for sure. I just wanted to draw attention to that.

I think Brian went with that take because it gives the song a sense of uncertainty. With his ears, there is no way he didn't notice that it was off-key. What the vocal helps to communicate is his doubts about the himself and the girl he's singing to. A wonderfully unsettling effect to my ears.

Also, I'm a fan of the stereo mix.  The space given to the different parts reveals what a robust garden of melody Pet Sounds is. "Caroline No" in stereo is a revelation in my mind.  Just to hear all of those parts dancing around in each in the fade, and that moody woodblock echoing throughout - wow. Have to say, though, that I'm not a fan of how Brian sped up "Caroline No". Damn Murry with his suggestions. His only suggestion should have been to tell Brian to surge more on the woodblock.  As it is, I wouldn't call the sped up version ruined. I just think it detracts from a masterpiece.

And how about that bridge in the stereo take of "I Know There's An Answer"? What a great guitar sound!

I never thought about it in that way. But it makes a lot of sense now.  ;D

An interesting take, for sure...I really find the idea of Brian intentionally singing off key to be a little hard to swallow though.  I've always thought that Brian didn't worry about the first vocal being off key because he knew that double tracking magically takes away a lot of those imperfections, and that once he laid down the double, it would sound just fine.  He never intended that solo vocal to be heard by itself.

Everyone's missing an important point: Brian never intended for us to hear that solo vocal. The only reason there's not a doubled stereo vocal is because he added the 2nd vocal track during mixdown, I suspect because he belatedly realised the single vocal was sub-par.

It sounds off key in the vocals-only, but is it really? Because it sounds perfect with the backing track....

if im listening on headphones i usually use the stereo but I rarely listen to it on headphones. Mono on vinyl cannot be beat.

That sounds plausible. To my ears, there are 2 points in the vocal that are clunkers when isolated, one worse than the other (in the 2nd verse). The theory about a vulnerable overall effect being created by purposeful imperfection is quite interesting, but at the end of the day I don't buy it in this case, even though there is ample evidence that "flaws" of various kinds were tolerated if he heard, as no one else often could, something in them that would enhance the intended atmosphere of the track.

It's a fact of human nature to divine a meaning, or an intent where there actually is none. I'm reminded of an exchange during a Grand Prix between the legendary pairing of Murray Walker and former world champion James Hunt:

Murray: "Well James, I'm guessing for this corner you change down to second, ease off the throttle, a light tap on the brakes, just clip the apex and exit just off the racing line to set the car up for the next hairpin."

James: "Actually Murray, it's eyes closed and welly to the floor all the way through."

For some other classic Murrayisms, check this out: http://murraywalkerisms.tripod.com/ (http://murraywalkerisms.tripod.com/)

Brilliant! :lol I myself have noticed such mental 'fill-ins' from soccer commentators more and more over the years. We tend to get a whole Freudian explanation of what a player experienced just prior to, and making a great goal. In my youth, it was much more the James Hunt-style, but nowadays it's decidedly à la Walker...

I think the classic one of all time was from the lips of Harry Carpenter (who sadly died last week) while commentating on the Ali-Foreman fight in Zaire. Ali was on the ropes taking a fearful pounding and Harry shouted "Can Ali possibly come back from this, it looks like he's got nothing left !" - the very next second Ali came off the ropes and floored Foreman with an electrifying combination.

Oddly, that line of commentary was removed from any rebroadcast.  :)

Okay, I'm just going to put this out there....

Is it possible Brian may have purposely "stretched" the key in places on that first pass, so the doubling would sound a little more....um, human rather than mechanical?  I've suspected this for some time, but it really hit home for me when I heard the new stereo mix of "She Knows Me Too Well" with the single lead vocal.  That one doesn't have key issues so much, but there are some general rough spots that got covered by the doubled vocal.

I don't buy that Brian did it intentionally, at least not in the way that you are suggesting...he knew that he didn't need to be perfectly on key doing the first vocal because once he laid down the double, the flaws would be covered up and create the more "human" effect you describe.  I suppose I'm saying that I agree and disagree with you at the same time...Brian was intentionally lax in his singing, but not necessarily singing off key on purpose.

i prefer stereo on some, mono on others.  Also depends if it's like cd or vinyl.  Vinyl def mono.

i think wouldn't it be nice is def better in stereo.  there's so much going on, giving everything space definitely helps it out. 

and i prefer you still believe in me cause i actually like the single track vocal more than double for that tune. 

Well, maybe he wasn't deliberately singing off-key, but rather cutting corners...You know, "that take could've been a little more polished, but it'll be okay stacked against the second pass".  I guess that's what I was getting at.

Good theory, but somewhat undermined by his waiting to do the 2nd vocal until the track was being mixed.