Dear all,

Is there any way to find the Dae Lims Smile in a lossless download? If anyone knows, I'd be grateful. Especially looking for the AI enhanced stereo mix of Cabin Essence.

All the best

A simple search on the Internet Archive will take you there.

https://archive.org/details/DaeLimsSMiLEAI

Amazing, thanks.

S.

Dear all,

Is there any way to find the Dae Lims Smile in a lossless download? If anyone knows, I'd be grateful. Especially looking for the AI enhanced stereo mix of Cabin Essence.

All the best

Just wanted to bump this thread, thank soniclovenoize for this new mix, and ask a few questions all in one reply.

Really dig the CIFOTM mix: is the chorus only a sync-ing of the 'new' acetate with the backing track? And did you do anything to extract the vocals?

Also really like the Surf's Up. The track just sounds so different without the very loud organ overdub...I once tried to do a matchup of a bootleg vocals only version with the backing track but never could make it work. So, great job.

Only thing that doesn't really seem to work for me is the 'Canvas the town' 'duet'. Would you happen to have a version lingering around without the double Carl vocal on 'Canvas the town'?

Much to enjoy on this mix. So, everybody who didn't download it yet - do!

Thanks,
Stijn

I read about it in a Dutch newspaper, but didn't know they were on Spotify yet. So thanks a lot for posting, I listened to the first two and quite enjoyed them. Some very nice song choices already.

Does it include the tantalisingly described Heroes assembly which we hear partly on the CIFOTM track on the Friends sessions? I would consider selling a kidney to hear that!

If I remember correctly it's actually the same bit as the Friends Sessions IIGS snippet, which they use in a home made reconstruction of the complete acetate.

http://smileysmile.net/board/index.php/topic,11250.msg216911.html#msg216911

This topic might be a good start. It lists al the available takes and mixes Smile-related, along with where to find them. I found it very handy at times when I was completely lost among all the various boots/mixes/tracks that sound very different but might be the same mix but from a different source etc...

The list does not contain a break-down off all the different takes used in the Smile Sessions disc 2-5. Which would be very hard to do actually, because it's a mix of all sorts of takes, count-ins, studio chatter, etc. (see, for example, http://smileysmile.net/board/index.php/topic,22772.msg540475.html#msg540475)

As far as the boots go, I don't think there are that many that one should have to have a 'complete' collection of all the best sources. Many have overlapping material as well, just from a different origin. I don't know if it's allowed to go in to this subject much more though..

Last point: I found some recent fan created boots very handy, if not essential, for their authentic presentation of some specific tracks. I've been trying to create as many 'authentic' / 'not-tinkered-with' versions of all the Smile tracks, combining TSS, the sessions material, and a lot of the bootlegs. For me, that is the most valuable Smile material (musically and historically) but this kind of 'authenticity-OCD' isn't everyone's cup of tea.

Thanks a lot.

I've noticed the youtube audio is mp3 of low quality (my bad, I don't have much experience with video editing or uploading), so if anyone wants to hear/have it in hq mp3 or flac, just send me a pm.

Stijn

Dear all,

I've been busy mixing a new version of Surf's Up: 1966 backing track, combined with the 1971 'vocals only' track. So that means: no fly-in Brian vocal, and no organ overdub.

In my opinion, the music really benefits from this balance. The spooky emptiness of the arrangement at the start of each verse never really worked out in the 1971 album version, because the organ breaks up the suspension. It 'glues' everything together, while I believe the main feature of the arrangement is to feel lost, not knowing which chords you're hearing, etc (because the bass doesn't play the tonic most of the time!).

Of course this was also done in 2011 by syncing Brian's demo vocal with the backing track. However, I never really liked the general idea of flying in missing vocals as was done on the 2011 box set. And especially since we have some finished lead vocals for Surf's Up by Carl in 1971, I prefer to use those.

So here's my effort. It's got it's flaws (for example, the 'bygones' were really loud and overlapping with the lead vocal. I tried to balance them separately but it wasn't ideal). But the synchronization is almost spot on if you ask me, and the music and arrangement just work very well this way.

https://youtu.be/a214Biislno

Let me know what you think about it.

All the best,
Stijn

Many thanks, Paul2010. Will listen with interest. Been a while since I heard a new Smile mix.

You're welcome, curious to hear what you think of it. I updated the download link today: https://we.tl/t-l9s8VUwaux

As a little appetizer (I hope) here's some more detailed explanations of my ideas/sources for each track. It may make it seem like a very chaotic 'kitchen-sink' Smile mix...but it is exactly the opposite: all the work I did was necessary to make this compilation as straight-forward and flowing as it turned out (in my opinion).

Prayer (mono mix, GV Box)
- nothing altered
Do You Like Worms (GV Box/Bicycle Rider from TSS)
- interesting to note that the GV Box mono mix has the original two different 'Rock, roll, Plymouth rock' choruses, TSS uses the same one twice!)
Cabin Essence (20/20 / Grand Coolie from TSS)
- compiled from either left or right channel of the 20/20 stereo mix. I compared heavily to the 2011 mono mix, and it seems like they did exactly the same.
I Love to Say Da-Da (GV Box)
- nothing altered in any way again. Version without fly-ins.
Child Is Father of The Man (Archaeology, Mark Linett 1988 Smile, TSS)
- I always loved the chorus so much and the 2011 mono mix didn't have it for me The combination of the acetate and multitrack vocals buried a lot of the arrangements (and where they ever meant to go together in the first place?). So I made a 3-minute edit using 3 different choruses, two from sources already available before TSS (although restored and EQ'd by me). Verse taken from the sessions (to avoid crossfade) and EQ'd as well.
Wind Chimes (GV Box, fade-out from TSS sessions)
- this track only really needed some EQ. Sounds lovely open and natural on the GV Box source.
Heroes and Villains (Smiley Smile/chorus and Cantina from TSS)
- of course we have two vintage mixes for this one, but the BWPS combination of them makes for a very complete feeling. To stay a bit more true to possible original intentions I ended on a chorus fade-out, instead of the BWPS style ending. This one can be easily replaced by whatever version one might prefer of course.
Good Vibrations (GV Box)
- 1966 mix
Mrs. O'Leary's Cow (TSS/UM 17)
- so this is one of the tracks where a 'modern' idea (HAV intro at the start) works too good not to use it. The HAV intro just sounds so right combined with Fire. Fire taken from a source without the fly-ins.
I Wanna Be Around-Friday Night (TSS)
- this is one track I cannot leave from my Smile albums. Strange combination of sections, but it works, gives you a moment to contemplate about everything that's happening during this crazy (in a good way) album.
Vega-Tables (TSS/Smiley Smile/GV Box/UM 17 [a tiny bit])
- the structure of TSS is very well thought through and could hardly be bettered. One of the highlights of the 2011 release for me. I lifted the lovely a capella section from Smiley Smile to overcome a cross-fade. The first Sleep a lot (fast version) didn't sound quite right to me, tempo-wise, so I replaced it with the rough piano version from the GV Box Set. (I took this idea from the person who made the incredible 'Alternate Smile Box' not too long ago...)
Wonderful (TSS)
- version from the new box. Still not quite sure if I prefer the version without the yodeling or not..small difference though. I faded out the at the last moment, which seems to me as a very natural ending of the song (instead of the lonely bass notes)
The Old Master Painter (TSS)
- too good to exclude, and a great last 'link track' before the grand finale. Note that I re-edited the intro. The 2011 box used the acetate for the main part of the track (obviously) but chose to use a different take from the sessions as the intro (probably for sound quality reasons...but I didn't quite agree). Then they crossfaded into the vocal (the acetate), but a completely different moment (much too late) than on the finished version! On the session tapes you even hear Brian Wilson pay lots of attention to this timing... So I made the intro crossfade into the 'real' mix at exactly the same as the complete acetate does. Sounds way less jarring.
Surf's Up (Surf's Up/vocals only/sessions/TSS)
- I never liked the idea of flying in Brians vocal, and especially when the timing is not completely right. So I made a new mono mix from the 1971 version, using the left channel for the most part which luckily does only contain a small part of the organ overdub which is now balanced much better. To enhance Carls vocal and the vocal overdubs I used the vocals only 5.1 extraction that floats around. To enhance some instruments (muted guitar and horns in the second verse) I used extractions I made myself from the session tapes. When Brian starts on piano for part 2, I simply use the 2011 mono mix.

Well, I´ve been tinkering with the song order forever and one point I actually forgot to add was that I find that these songs (in these basic forms, all mono etc) actually seem to work in lots of different orders...so the Smile mix I posted here is not so much about the tracklist as it is about the specific mixes itself.

Edit (addition): for a bit of fun this morning I tried out a tracklist that opened with You're Welcome into HAV, and closed with Prayer > Surf's Up...

Dear all,

Long time since I've seen Smile mixes appear on this board. (So if this thread is not at the right place, please let me know..)

Long story short, like many of you I'm collecting and mixing Smile ever since I first heard the music (in my case: Purple Chick's Smile!). Immediately I knew this was music that touched me emotionally, triggered me musically, fascinated me historically and that that would never change. The fact that everyone could have a go at the album and even the songs itself made me feel even more involved.

I've been going through all sort of phases with my mixing and compilation 'intentions', but musical integrity and historical accuracy have always been very up-front. I've now compiled an album which, in my opinion, flows, has momentum, and stays quite true to the original concept of a song-based collection of tracks.

The songs themselves follow my philosophy: stripped down of modern ideas where possible (fly-ins, cross-fades etc), enhanced and 're-thought' (within the most strict borders!) were needed.

1. Prayer (GV Box Set)
2. Do You Like Worms (GV Box Set - TSS)
3. Cabin Essence (20/20 - TSS)
4. I Love to Say Da-da (GV Box Set)
5. Child is Father of the Man (Archaeology - Mark Linett 1988 Smile - TSS)
6. Wind Chimes (GV Box Set - TSS)
7. Heroes and Villains (GV Box Set - TSS)
8. Good Vibrations (GV Box Set)
9. Mrs. O'Leary's Cow (TSS - UM 17)
10. I Wanna Be Around-Friday Night (TSS)
11. Vega-Tables (TSS - GV Box Set - Smiley Smile)
12. Wonderful (TSS)
13. The Old Master Painter (TSS)
14. Surf's Up (Surf's Up - TSS - vocals only extraction - TSS mono mix)

I've got a lot to say about all of the mixes, but for now I'd like to let the music speak for itself. I hope some of you give it a go, and if so, let me know what you think about it!

I've made a WeTransfer link to start with. If anyone knows a better way of sharing (which expires not quite as fast), please hint me in the right direction!

>>>>> https://we.tl/t-l9s8VUwaux <<<<<

All the best

What a great, comprehensive and informative answer. Thanks a lot!

So it seems that it might be a classic case of continuous work on the vocal arrangement, and Brian not being able to make up his mind...well, we've now got three great versions of 'em, four even if you count the 2011 combination of the block harmony with the multitrack parts. Although there's probably no evidence those were actually meant to be combined into one, they sound quite good together, almost 'complete'.

Makes me dream of a Smile Sessions Extensions Set, one or two discs with (raw) material that couldn't fit in the 2011 box set. Barnyard, CIFOTM vocals, available (vintage) acetates in upgraded quality, some stereo mixes. One can always dream.

[do not]

Dear all,
Since a few weeks I've got some spare time to fill (many of you probably have), and inevitably at some point I had to revisit my ongoing Smile tinkering/researching.

Been listening to / editing Child Is Father of the Man a lot. Such a mystery this track...always been one of my favorites. Especially the chorus. So I started to wonder again - is there actually still a multi-track of the vocal session available? I never found a definitive answer on this subject. Evidence points towards affirmative though...

-there's this track on Secret Smile, a vocal overdub session, including a count-in, some vocal warm ups..unless this was made into an acetate it probably originates from a still existing multitrack. (Is this a correct way of thinking?)

-the chorus on 2011 Smile is a newly made mix of the two existing choruses (as available on Vigotone among others). There don't seem to be any artifacts which you would expect if the 2011 mono mix would be an actual 'blend' of these two choruses. So to put it simply, it sounds like it was compiled from the multi-tracks. Or were the vocal parts digitally extracted and then mixed with the instrumental backing track?

-I found a quote floating around the internet in an article on BWPS. Not entirely clear if this is actually about the CIFOTM chorus...but it could be.

"And while listening to the multitracks for the song 'Child Is Father Of The Man', Darian soloed a chorus lead vocal by Brian's late brother Carl and made discoveries which were later incorporated into the finished arrangements. Mark Linett explains: "When he's not singing, you can hear faint background vocal parts that no longer exist on the multitrack. They must have been in his headphones, and were picked up by the vocal mic. It could be that Brian decided he didn't need them, or that he was going to re-record them, but never did. You hear this sort of stuff throughout the tapes." (https://www.soundonsound.com/people/resurrection-brian-wilsons-smile)

-If the multi-tracks exist though, why would they not be in a stereo or vocal only track on the boxset? That would suggest they, in fact, do not exist..

So, I'm very curious to hear opinions and thoughts from the rest of you.

Take care

Just some thoughts about this track since I've started tinkering/mixing/etc with Smile for the millionth time a few weeks ago.

More and more I believe that the version that best works for me follows the BWPS template for the major part. That is, starting with the 'verse'. It just seems the right, mystical atmosphere, without giving it all away (that's what starting straight with the chorus does for me).

Moreover, starting with a verse rather than the 'bridge' makes room for including the verse more than once, like the old acetates do as does the 2011 mix. It's just too good a piece of music to hear just once... And it makes for a cohesive, clear structure like most of the old Smile material has, with a clear verse, chorus and bridge section. Verse/chorus/verse/chorus gives the track a more complete feel, more of a song, than just fragments (all to my ears of course).

Then: the bridge, as a pause in the song, time to overthink what happened in the minute and a half before.

How to end the song? Well, just listen to virtual all the vintage edits: one more chorus. Or, half a chorus like the vintage instrumental edit. Whatever you may choose though, I think it would have ended with a fade-out.

I came across some forum post that made this point again: most of Brian's songs end with a fade. Smile material included. It makes the songs go on forever, it completes them once and for all.

Furthermore, the last bass/cello tone of the chorus just doesn't seem to be recorded as a 'hard finish'...way too 'casual' I feel. It rings out in the 1966 instr test edit, but there's talking going on, so chances are it would have been a short fade out like Good Vibrations. A short repetition of the main part of the song, a reminder for the listener.

So, all 'revelations' put together, what I think is both historically and musically a very satisfying edit of this personal favourite song:

Verse/chorus/verse/chorus/bridge/(half-)chorus/FADE.

Just wanted it to share with some of you who might still be reading these threads.

PS: this 'fade-out' thing made me turn down the volume of the last notes of Wonderful as well. The bass notes are brought forward in the 2011 mix, with echo and all, but  in all seriousness, it would have been a strange ending to the song. In my opinion it would have been a short fade out, just making it to end of the last backing vocals (won-won, won-won...). Much more likely and musically 'logical', I think.

I´m a little bored with this CFM domination on this board (though I think it´s one of four best songs on Smile, others HV, SU, CE ), so let me ask one question:

Why there isn´t a good, clean quality copy of an Bicycle rider acetate that appears on H & V Sessions, vol 2, track 28?? I LOVE THAT KICK DRUM!!!


AAAEEERGHHHHH.....

Because it's an acetate, pure and simple.

Well that much I figured! 
But is this mix only available on this acetate, simply cause it was erased at the time??
My other question was and is why isn´t possible to reconstruct?? Someone call masters of Smile mix to rescue! Krabklaw, Seltaeb1012002....Please help!!

Well, there is a simple solution! I listened to some outtakes and if you may have the UM17 set, go to disc 1 track 20 and only listen to the right channel...the left has some new vocal overdubs, but the basic take is definitely in there.

I'm listening to it now, you did a really great job. In my opinion, this is definitely something the band could have, or maybe should have done. Do You Like Worms, Look, CIFOTM, Holidays and possibly Fire with vocal overdubs would have made very nice bonus tracks for the box set.

It just gives the tracks a feeling of completion. And with more 'artistic integrity' than flowing in some of these vocals.

Honestly, the vocal coda never bothered me personally but I could see how it would ruin it for others. I think they really dropped the ball by trying to force the BWPS mold onto these songs. Not every track from the Era had to be on the reconstructed SMiLE. Do what you can with the songs that have enough material to work with to warrant tinkering around, but stuff like Look, Holidays and Dada probably would not have even been on the album. Include them in the sessions discs, make sure there's a usable master take that we can still listen to and then leave them alone as the unfinished, unfinishable, most likely abandoned curiosities they are. Not every transition from BWPS, much less every track, had to be on Disc 1.

Long time since I posted here, but you perfectly describe the feelings I have, more than 4 years after the release of TSS. Don't get me wrong, I absolutely love the box and it's content, I couldn't live without it, but there some decisions/ommisions that keep getting me.

I understand that there are some editing choices not everyone may hear or may care about, but when you're a person that hears such things they can be annoying. Just things like uneven noise reduction, crossfadeing of small sections when a hard cut would have worked much better (an extreme is the Bicycle Rider into the Hawaiian Chant). Or the strange editing of the beginning section of TOMP from another take, which gives the track a musically, rhythmically different feeling than the final master take with the vocals. Or the editing in the CIFOTM chorus, which results cutting in the last high aaah's background vocals. Or the fly-ins in Surf's Up, which are, whatever anyone may say or hear, definitely off, or at least clearly different from the singing in the original demo (musically/rhythmically).

Then there are the ommissions that you speak of, and only including the BWPS-mimicking tracks on disc 1 which leaves us with an incomplete picture of the history and the music of the album. Where's Barnyard with backing vocals, LTSD and Fire without the fly-ins, I Wanna Be Around, Vega-Tables, TOMP and LTSD without crossfades, Wind Chimes, CIFOTM and DYLW in its original 1966 form?

Luckily I reconstructed most of these tracks myself or with the help from fan mixes, but it could have been so easy to release this material anyway. And that's still possible, but it's just not happening.

Well, let's spin some great Smile music and enjoy what we actually have, which is an awful lot of brilliant music.
Paul

Interesting dilemmas! As I've spent a lot of time on some of the same things, I'd thought I could possibly give a few of my thoughts...

First of all concerning TOMP, if it hasn't been mentioned, it's good to know that on TSS they used another take (an instrumental included on the sessions disc) for the first 'instrumental part' of the disc 1 mono mix. When the vocal comes in, they made a cross-fade to the remastered acetate, but at quite a different point in the track (a few seconds later), strangely enough.

Concerning DYLW, I've almost a stereo mix that satisfies me, and the only stereo version of the 'Hawaiian Bridge' that sounds completely right to me is the on Unsurpassed Masters 16. I've also used the first Bicycle Rider section from that track. Although these sections haven't had a final mix and possibly miss some reverb, the stereo image is very clean and sounds better than mixes that use all sorts of different sources for the various instruments and voices.
I used a gentle high EQ boost to match the sound a bit more to the TSS sections.

Hope this all helps!

I know it's not totally on topic, but since there is a great and lively Smile discussion going on here I figured some of you might know more about this: has there been any news the past couple of months, or even longer, about any possible release of the complete Barnyard track including the backing vocals? There was a lot of debate when the box came out about the exclusion of this fragment, which is really quite essential in the history of Smile in my opinion. There was some talk of possible online-only releases of this and some other tracks such as the complete CIFOTM acetate...does anyone know anything about this? Is it likely that these tracks will ever be released?

Have wondered about these omissions myself and hope there might be some kind of anniversary release in 2017, with these as bonus tracks (and maybe the Durrie Parks acetates that were omitted, if any…). You know, the year after the Pet Sounds anniversary release in 2016…

Can't imagine any thing's been held back from Pet Soudns by now tho'≥

There lies an opportunity. Maybe that's also a good moment for some other stuff that, again in my opinion, has been missing from earlier releases, mostly some other mixes of completed tracks which only have been included in a re-edited form, and that can't be possibly reconstructed using the box set.

Things like a stereo mix of Do You Like Worms, a stereo I Wanna Be Around in great quality, I Love To Say Dada without the fly-ins (in stereo), the complete unedited mono mix of The Old Master Painter...there's lots of possibilities, I think.

I know it's not totally on topic, but since there is a great and lively Smile discussion going on here I figured some of you might know more about this: has there been any news the past couple of months, or even longer, about any possible release of the complete Barnyard track including the backing vocals? There was a lot of debate when the box came out about the exclusion of this fragment, which is really quite essential in the history of Smile in my opinion. There was some talk of possible online-only releases of this and some other tracks such as the complete CIFOTM acetate...does anyone know anything about this? Is it likely that these tracks will ever be released?

In the years after TSS I worked on my preferred Smile mix which is quite close to definitive for me right now. It is in mono, it contains the tracks on the original back cover, with some very small differences, but most importantly contains quite 'authentic' or in any case as complete as possible versions of all the tracks. So, all the tracks are presented in a way that they were possibly going to be released in 1967. The dilemma is always Heroes And Villains and The Old Master Painter: if I'm using the 'Cantina mix', I can't use the fade-out in TOMP. So, my best option is most of the time to use the TSS mix of HAV, which isn't really what was going to be released in 1967, but it is the most complete-sounding version, incorporating most of the sections, and I can use the fade-out in TOMP which makes it sound like a complete track after all.

01. Prayer
02. Heroes And Villains
03. Do You Like Worms (with the original fade-out restored)
04. Wonderful
05. Child Is Father Of The Man (3-minute mono mix reconstruction, or the TSS version without the opening section)
06. The Old Master Painter (first bars restored using the Sessions tack)
07. Cabin Essence (TSS mono mix with some re-editing)
08. Good Vibrations (single version)
09. Wind Chimes (re-edited to match the original mono mix, with the first bars and the fade restored)
10. Fire (the UM 17 mono mix, no fly-ins, and including the Heroes And Villains intro)
11. Vega-Tables (TSS mono mix, first bars restored using the vinyl single mix)
12. Surf's Up

Sometimes I'm leaning towards including tracks as I Wanna Be Around or I'm In Great Shape, but the 'unfinished' feel of those tracks works better in a bigger compilation, including all the BWPS tracks and more.

Thanks! These Smile (re)mixes sound great.

Thanks for this mix!

I see there is a link posted as well. Hopefully the combination of the video and the note names provide you with enough info to figure out the bass line!

I just tried to figure it out the first part (verse) notes, here they are: (I just wrote down the names of the notes in the correct order)

higher A - (normal) A - D - A - B - E - B - A - D

higher A - (normal) A - E - A - B - E - B - A - E

second part: D - C# - B - A - Ab - Ab - Db - Db - F# - F# - F# - F - E - E - E - B - A - B

D - C# - B - A - Ab - Ab - Db - Db - F#

Db - F# - Ab
Db - Ab - A
Db - A - B
Db - B - C#
E - C# - (descending bass notes)

then the bass follows the main bass line: A - G - F# - F - E - F# - A - B (3 times)

4th time:  A - G - F# - F - E -
E - E - Ab - B - (higher) E - B - A - E - F#

I'm pretty sure this is correct.

Hope this helps, if there are any questions, ask them.
Paul