This Thursday.
http://www.myspace.com/denniscarltour

ok ..thanks...anyone else here going??

I'll be there, probably with at least one or two other folks from central Kentucky. I realize I'm a pretty new registrant (been lurking around for a bit though).

(Man, I can't believe we're really doing this thing.  Wow.)

I'm just grateful you're doing this thing. Carl and Denny's music deserves the exposure, and y'all are getting it out there and doing it justice. Please, please, please bring this tour to the South!

It's only in the South to some people, but if anyone is in the central Kentucky area maybe we could combine forces to get there. I'm in Lexington but at the moment still canvassing my friends and acquaintances to find company for a trip.

Could you recommend any books to serve as references to the kinds of recording techniques and equipment that would have been available in studios during the 60s and 70s? When Stephen Desper recovers I intend to purchase a copy of his book, but where else would I be able to glean a better understanding of what was going on in the recording industry, particularly at the beginning of the Beach Boys' recording career? I feel like a lot of times (particularly in the Desper and Linett threads) the level of discourse is a little too high for me to participate in with what I currently know.

I'm hoping to see the show in Covington if I can find someone to come with me. Any thoughts on that show's venue - The Mad Hatter? A quick google search doesn't turn up a page for them.

I think it's a pretty great movie. I think it's a well-realized satire of the music industry which a lot of people seem to take at face value.

I have FLACS as well.

Sorry if I was making an assumption there. I was glancing at this thread at the same time as I was showing one of my friends how to install a flac codec for the first time.

MP3s are convenient and still the only digital format other than CDA that my discman plays, but that's only because it's gained ubiquity in the market. Even for lossly compression, MP3 is pretty weak sauce. The codec itself has been band-aided so it's more flexible than it used to be, but with the bandwith and storage space we have now something losess like FLAC is easy and maintains true fidelity to the bits on the CD.

FLAC is just one lossless codec, but it's a forerunner among the current options: http://flac.sourceforge.net/

I have tried to make sure I've read the entire thread, and thought I would mention an idea that occured to me regarding the service Stephen was offering to process CD releases for fans. It may be too late now, but have you considered picking up a few used copies (amazon.com is good for finding BB CD releases for $6-8) and just building in the price of these, the blanks, and whatever you think is fair for your time into the offer? That way everyone can be certain they are receiving a legitimate copy of the original CD release as well as your processed version.

I certainly would be interested in this.

I don't have much background in sound engineering, so this may be too obvious. Sorry, if so.

I have been wondering if there was use of EQ during the production of any of the Beach Boys albums in the 60s. I know it's a common technique today in order to help give instruments and voices a little more of their own space or to cut out discordant sounds, but did Brian ever use any in the studio back then? It seems like I can definitely hear that use of EQ in Brian Wilson Presents SMiLE -- do you use EQ on individual tracks when reissuing the back catalog?

I have read a number of reviewers commenting on the use of fades in Brian's 2004 release (specifically crossfading in Workshop/Vega-Tables and at the end of Good Vibrations), usually in a negative way. Some members of the fan community seem to feel strongly that the fades are inconsistent with the way Brian was laying the album out in 66/67 -- the 'modular' approach. Does this seem valid? I'm interested in how his ideas on transitions may have changed in the intervening years.