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658386 Posts in 26357 Topics by 3742 Members - Latest Member: Soulful Old Man River May 26, 2020, 03:39:26 AM
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1  Smiley Smile Stuff / General On Topic Discussions / Re: Headphones in the studio on: April 10, 2020, 10:26:04 AM
Unlike today where everyone has headphones and often their own mixer (which I don't think helps) , back then headphones were the exception and usually only used if someone was in an iso booth or in the case of WIBN Hall needed to hear the direct guitars being played in the control room so he could bring the band in. But no one else in the band heard those guitars.

And for hat matter the band couldn't hear the blend or the reverb or tape slap while they were cutting the track. I think its at the end of the GOK master that Brian says "come on in if you want to hear it" cause when they played the tape back then everyone could hear what the track actually sounded like.
2  Smiley Smile Stuff / General On Topic Discussions / Re: For Mark Linett - Good to My Baby signal flow on: April 10, 2020, 10:20:12 AM
well yes of course if it was at the chamber the mics went into dedicated mic preamps set to a fixed gain and then the line level out went to the console. It was the same even if the echo returns on the desk had amps. Those amps weren't used a mic preamps .

The chambers can be thought of as self-contained units just as if they were EMT lates or a standalone reverb box.

Yes the horns were usually recorded dry. and in all cases more reverb could be added when the track was mixed or premixed into mono
3  Smiley Smile Stuff / General On Topic Discussions / Re: For Mark Linett - Good to My Baby signal flow on: April 09, 2020, 08:19:41 PM
Correct. Each chl had a post fader echo send that was routed to the same numbered output as the main buss assignment.  So if you assigned a chl to buss 1 the echo send went to echo send 1 etc. There were three line level echo returns that were hardwired to busses 1, 2 and 3.

I believe on the studio 3 console the returns were passive ie they had a gain control but not an amplifier. The Studio 2 console I think had amps on the echo returns .

As far as the use of reverb and tape delay it all depended on the track and since there was a fair amount of bleed , reverb put on the band mics was usually enough even if the track was being split to three tracks as began happening around 1966. Horns always went on their own track and the rest was split up in various ways but as far as i know always monitored in mono because that's the only format that mattered.

Mark
4  Smiley Smile Stuff / General On Topic Discussions / Re: For Mark Linett - Good to My Baby signal flow on: April 08, 2020, 09:04:11 PM
To try and answer your question I put on the original track session tape which is laid out with most of the band on track 1, nothing on track 2 and the horns and echo return of the band on track 3. To put the reverb return for track 1 on track 3 Chuck Britz would have had to patch the track 1 echo return to and input chl and assigned that to track 3 since the normal setup on the UA console automatically  went to the same track that the mic modules were assigned to.

Listening to the session and the master my guess is that Brian wanted some control over the amount of reverb added to the percussion breaks and the intro when he mixed the record.

Hope that helps.......Mark
5  Smiley Smile Stuff / General On Topic Discussions / Re: Mark Linnet interview with multitracks on Produce Like A Pro Youtube Channel on: March 04, 2020, 05:47:06 PM
Mark if you check in here, about the board routing which you touch on in the video--I keep reading Bob Olhsson mentioning that Cal Harris told him that Chuck Britz actually preferred to bypass the board at Western a lot of the time, favoring an Ampex MX-10 for dynamics and ribbons, and going right into a limiter for tube mics.

Was that...possible?  Did the Putnam boards bypassing board-pre inserts from outboard pres?

I don't know for certain, but doubt that he would have used the AMPEX MX-10 which was vastly inferior to the console in Western Studio 3.  And that console didn't have inserts on each chl. It was a high impedance mixer which was fine because it had 3 or later 4 busses (Outputs) to feed the 3 track or 4 track deck. With only 3 or 4 tracks that was all you needed. The console in Studio 2 had a transformer on the output so an insert patch was possible as was a direct out so that console was easily used for 8 track recording.
6  Smiley Smile Stuff / General On Topic Discussions / Re: Mark Linett interview with multitracks on Produce Like A Pro Youtube Channel on: February 28, 2020, 06:01:37 PM
Yes like Beetlejuice if you get my name right I will appear.......... or not

Glad everyone liked the interview

Sad to report that the GV tape thing was as I  expected, a hoax  ......... I've spoken to the engineer in question and he never worked at CBS in Hollywood and has no idea  who the mystery person is who posted during the interview , or why the troll would claim that he had the tape......

Would have been nice if it had been true however.

Mark
7  Smiley Smile Stuff / General On Topic Discussions / Re: Hey, Mark Linett -- if you still come here -- ur BBs UAD Capitol Chamber presets on: February 17, 2020, 02:38:37 PM
I misspoke in y previous post..... the "spaces" program on UAD is not East West but Oceanway (now United) Studios A & B just up the street from East-West (formerly Western) Studios .

The only samples I know of from East West are a couple of the echo chambers which can be found in Altiverb.

d
8  Smiley Smile Stuff / General On Topic Discussions / Re: Hey, Mark Linett -- if you still come here -- ur BBs UAD Capitol Chamber presets on: February 17, 2020, 09:01:26 AM
Hello and thanks for the comments.

I think the Capitol chambers UA plugin is great and I also use the Oceanway Rooms quite often . I created the presets for the chambers to be similar to what I've used for many years with Altiverb samples of most of the echo chambers that still exist in LA.

BTW there is a great new plugin coming soon from IK Multimedia that emulates all three studios at Sunset Sound where the group recorded in 69 and the early 70's and where we recorded Brian Wilson Presents Smile.

I been lucky to have gotten a Beta version of the plug, and think it is one of the most useful both the reverbs and the room emulations.

Read about it here:
https://www.ikmultimedia.com/products/trsunsetsound/?pkey=t-racks-single-sunset-sound

Regarding the Beach Boys mixing at Capitol...... much of 20-20 was mixed there, but offhand I'm not aware of much else, and except for the sessions for the first LP, they almost never recorded there. For whatever reason the group did very little at the Capitol Tower even after they began using other studios besides Western and Goldstar in the late 60's. and early 70's.  Sunset, ID Sound and Valentine Studios were used a lot during that time as was Goldstar. And in 65 and 66 they did vocals and mixed at CBS in LA because the studio had the very first 8 track tape deck in Los Angeles.

Hope that helps........Mark

9  Smiley Smile Stuff / General On Topic Discussions / Re: RIP Nicky Wonder on: August 28, 2019, 08:32:57 AM
https://www.youtube.com/watch?v=WBXE2tssCLU
10  Smiley Smile Stuff / General On Topic Discussions / Re: RIP Nicky Wonder on: August 07, 2019, 09:15:15 PM
https://youtu.be/WBXE2tssCLU

RIP Nicky
11  Smiley Smile Stuff / General On Topic Discussions / Re: Now live over at Sound On Sound magazine... a tech interview with Mark Linett on: June 21, 2019, 08:19:30 AM
I went back and looked at the video, and now know what the letter is.

Shortly before the shoot I had a water leak in my studio and a bunch of letters and other papers from my teenage years  got wet and had been laid out to dry. The letter is from my old collection of QSL cards and is a response to my sending a report that I heard the station on my shortwave receiver.

Nothing to do with the Beach Boys..........
12  Smiley Smile Stuff / General On Topic Discussions / Re: Now live over at Sound On Sound magazine...Mark Linett! on: June 20, 2019, 05:01:13 PM
I'm really, really happy to see that video interview with Mark posted! If Mark himself is reading this thread, I just had a few questions:

At roughly :44 into the video, there is a shot of a letter addressed to Mark from radio station 610 WIP in Philly...tagged on air by the DJ's as"Color 61" or "610 Color Radio" whatever that meant  Grin . I was wondering what that letter was, and how you came in contact with 610 WIP at that time. It's been a sports talk type of station for many years now, but in the 60's it was a Metromedia owned station that played the format "middle of the road", mixing current hits with standards like Cole, Sinatra, etc and news versus the rock stations in Philly WIBG and WFIL. As a Philly radio guy, anytime I see an old callsign like WIP I'm curious to hear any backstories. And both my Mom and Dad back in their younger years after the war were listeners of "The Dawn Patrol" overnight show with Joe McCauley until Joe started doing morning drive-time.  Smiley

I know it's been discussed before, but I was also wondering how you handled the old 3-track tapes: There is the story of Geoff Emerick and George Martin in the 70's having trouble both finding and keeping running a working 3-track machine when they were doing the Beatles "Hollywood Bowl" project, as all those tapes were done by Capitol on 3-track. Was it a case of more working 3-track machines being available near LA or just that more had been refurbished and in working condition in more recent times than in the 70s?

Thanks again for a terrific video interview.

You're welcome......

I'm not sure what that letter is or if in fact it was filmed at my studio. As for the 3 track question.... the group's tapes are all in fine condition and over the years have been transferred using either my Scully 1/2" machine or my Ampex ATR which also has 3 track and four track heads. The group's tapes have all been transferred to hi-res digital over the years with the exception of some of the live recordings. Also as I indicated in the interview we have almost all of the tapes, and they are stored correctly and safely.......

Stay tuned for an upcoming announcement.... Mark
13  Smiley Smile Stuff / General On Topic Discussions / Re: Do we have any definitive info on \ on: June 14, 2019, 09:56:43 AM
recording date 3 / 2 / 1974....... a jam ..... no vocals
14  Smiley Smile Stuff / General On Topic Discussions / Re: What's the closest that Brian ever came to replicating a Phil Spector session? on: March 17, 2019, 10:38:12 PM
My contenders: Why Do Fools Fall In Love, He's A Doll, The One You Can't Have, and the backing track to the uncompleted "Go Away Boy".

I want to say all this stuff was tracked at Gold Star, but correct me if I'm wrong. 


Thanks C-Man for the info about Mike singing live from the booth... didn't know that!



In this case "booth" doesn't mean the control room . MIke was either in the vocal booth next to the control room or out in the main room with the players.most likely the former...... BTW the early run-through of the track that's on the 1964 download set released in 2014 has an even more spector-like  quality.......
15  Smiley Smile Stuff / General On Topic Discussions / Re: 1968 On Tour Set now available in U.K. on: January 27, 2019, 04:00:24 PM
Please post confirmation that it is indeed now for sale on the UK site. I had asked Capitol to look into the issue and want to make sure the problem has been fixed.

Thanks
16  Smiley Smile Stuff / General On Topic Discussions / Re: 1968 Copyright Extension Release Thread on: January 22, 2019, 11:57:28 AM
https://world.wng.org/2019/01/new_or_recent_albums
17  Smiley Smile Stuff / General On Topic Discussions / Re: California Feeling 2 on: January 05, 2019, 09:29:41 AM
I don't even think this thing is available unfortunately.


Available here:

http://www.foothillrecords.com/msmusic.html
18  Smiley Smile Stuff / General On Topic Discussions / Re: California Feeling 2 on: January 04, 2019, 08:58:21 AM
I think you will enjoy both discs. They feature songs written or co-written by Steve Kalinich including songs he wrote with Brain, Carl and Dennis , and  I was lucky enough to produce both albums for the Ms Music label .

Mark
19  Smiley Smile Stuff / General On Topic Discussions / Re: 1968 Copyright Extension Release Thread on: December 17, 2018, 11:20:13 AM
Please let me know if the Live 68 set is still not available overseas and which countries have the issue so I can let Capitol know.

ALso if the 66 or 67 sets ae still not available in the UK.

Thanks

Mark
20  Smiley Smile Stuff / General On Topic Discussions / Re: 1968 Copyright Extension Release Thread on: December 15, 2018, 02:48:29 PM
THE BEACH BOYS 1968:
Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine & Bruce Johnston
Compilation and New Mixes Produced by Mark Linett & Alan Boyd Edited, Mixed and Mastered by Mark Linett at Your Place Or Mine
Executive Producers: Matt D’Amico & Peter Fletcher
Original Recordings Produced by The Beach Boys Engineer: Stephen Desper
Brother Records, Inc: Jerry Schilling, President Session Research: Craig Slowinski
Special Thanks: Howie Edelson; Elliot Kendall; Ross Schwartz; Mark Kaplan; Pacific Title Archives; Stephen Kalinich; Al Gomes, Connie Watrous & The Rhode Island BB Posse; Brad Rosenberger; Les Prebilsky; Lee Dempsey; Andrew G. Doe; Margaret Gwynne; Betty Collignon Wright; Lori Lightfoot; Steve Latshaw; Panayiotis Bogdanos; Les Chan; Monty & Bailey Linett; David Beard & Endless Summer Quarterly
* New songs (unpublished)
Brian Wilson - New Executive Music (BMI) Dennis Wilson - Dennis Wilson Music (ASCAP) Al Jardine - Al Jardine Music (BMI)
5
21  Smiley Smile Stuff / General On Topic Discussions / Re: 1968 Copyright Extension Release Thread on: December 15, 2018, 02:48:12 PM
THE BEACH BOYS 1968:
Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine & Bruce Johnston
Compilation and New Mixes Produced by Mark Linett & Alan Boyd Edited, Mixed and Mastered by Mark Linett at Your Place Or Mine
Executive Producers: Matt D’Amico & Peter Fletcher
Original Recordings Produced by The Beach Boys Engineer: Stephen Desper
Brother Records, Inc: Jerry Schilling, President Session Research: Craig Slowinski
Special Thanks: Howie Edelson; Elliot Kendall; Ross Schwartz; Mark Kaplan; Pacific Title Archives; Stephen Kalinich; Al Gomes, Connie Watrous & The Rhode Island BB Posse; Brad Rosenberger; Les Prebilsky; Lee Dempsey; Andrew G. Doe; Margaret Gwynne; Betty Collignon Wright; Lori Lightfoot; Steve Latshaw; Panayiotis Bogdanos; Les Chan; Monty & Bailey Linett; David Beard & Endless Summer Quarterly
* New songs (unpublished)
Brian Wilson - New Executive Music (BMI) Dennis Wilson - Dennis Wilson Music (ASCAP) Al Jardine - Al Jardine Music (BMI)
5
22  Smiley Smile Stuff / General On Topic Discussions / Re: How much acutal tape splicing did Brian do himself? on: August 14, 2018, 08:22:45 AM
The sessions Brian did with Andy around 1995 began on analog tape with some overdubs done on digital.
23  Smiley Smile Stuff / General On Topic Discussions / Re: Al Jardine - The Unsung Hero of BASS GUITAR on: February 19, 2018, 01:01:16 PM
Don't Worry Baby, Warmth of the Sun
24  Smiley Smile Stuff / General On Topic Discussions / Re: Pet Sounds Desk - still in existence? on: January 18, 2018, 09:37:42 PM
Neil Young says in his Autobiography that Pet Sounds was recorded on the 'Green Board' that he purchased and moved to his ranch. Is that accurate?

From what I've gathered from the more knowledgeable replies, no, in a word.

Although it's possible some of the modules used for PS could have made their way into that board. The 610 modules and chassis used for PS were likely sold to Papa John Phillips and then later dismantled in Canada.

The thread sort of broke down into an argument about Brian's autonomy (or lack of) over the mixing desk at Columbia (lol).

The modules in the green board are the same as the ones in the Western Studio 2 console. They are not the same as the ones in the Studio 3 console which had the buss (track) select in the frame not in the module. As far as I know only two of the earlier Studio 3 type consoles were ever built.

The Neil Young console was an earlyWally Heider  remote console
25  Smiley Smile Stuff / General On Topic Discussions / Re: Smile Mixing desk question for scholars on: January 18, 2018, 08:34:41 AM

This console was purported to have been owned by Sinatra, but it was never installed at Western or used by the Beach Boys. The UA console in Studio 3 was an older model with difft signal path. That console was later sold to John Phillips and eventually ended up in Canada where it was dismantled.

A picture of the Studio 3 console taken in 1968 can be downloaded here:  https://personal.filesanywhere.com/fs/v.aspx?v=8d706a89605f76afb49b

I  own the UA console that was installed in Western Studio 2 and used for much of the Party album , some early sessions like "punchline" and occasional overdubs. I used it for many sessions with Brian as well as the stereo mix of Pet Sounds.

The one in the UK has similar modules to the one in Western Studio 2

Mark Linett
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