https://www.youtube.com/watch?v=cmtDqrnOPeA

Thanks Mark. Another drummer pointed out something similar. That may have been an error that got by us all.

Until we got the session tapes I assumed it was Hal on drums on FFF.

I haven't watched the entire video yet, but on Fun Fun Fun Dennis plays drums on the track and Hal plays blast sticks and then he overdubbed the toms. On the session tape you can hear the initial attempt to do the drums and toms live, with both playing  but Hal points out that it won't sound right so he goes to the blast sticks and overdubs the toms....
And if you want a great example of just how good the group could play,  check out the track for Pom Pom Playgirl from Shut Down Vol 2. That's just the Beach Boys including Mike on Sax navigating a very complicated track in one unedited take ..... and you should also take note of the bg vocal line as well.... I " ? you not "

Fun Fun Fun

https://www.youtube.com/watch?v=x8ov8vHMnwY  listen around 3:51

Pom Pom Playgirl

https://www.youtube.com/watch?v=Q0AfXs7i9s0

 https://thebeachboys.lnk.to/SailOnSailorPR

I know its lost/recorded over, but man I was really hoping someone found a version of the Carl lead vocal of Sail On Sailor.

Only Blondie's lead is on the 16 track and we have never found a rough mix with any other vocal. Its possible all the lead vocal attempts were made at the same session and the decision made to use Blondie's so no roughs of Carl or Dennis would have been made. There aren't any open tracks either which also helps explain why there aren't any other leads on the tape .

All will be revealed soon.....

i did the ATMOs mix of the xmas album using the original 3 tracks masters and extraction technology to operate the instruments from the backing tracks.

https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy8zYTRkMDI1OC9wb2RjYXN0L3Jzcw/episode/ODFiODk0MmYtNWM0My00NmU0LWJlZGEtYjA4NDhhYmE2MDE3?hl=en&ved=2ahUKEwisw5T8y5HzAhXXK80KHYeACKcQjrkEegQIAhAI&ep=6

I wanted to stop by and post a public thank you to Jerry Schilling without whom the Feel Flows box might never have happened.

He championed the project and the music from the start, and everyone owes him a debt of gratitude for his help and support

Thanks Jerry !

Mark

Susie Cinc , Back home- 7/3/76- Anaheim
Disney Girls- Blossom Music Center  6/11/82
This Whole World - Groton, Ct 6/19/88
Riot In Cellblock #9- Big Sur  Festival 10/3/1970
Its About Time- Fillmore East 6/27/1971
Surfs Up- Chicago 8/15/73
Take Good Care of Your Feet, Add Some Music To Your Day-  NYC- 11/26/93
Student Demonstration Time- Carnegie Hall 11/23/72
Long Promised Road- Carnegie Hall 11/23/72

I goofed on SDT it is actually from the Fillmore East in 1971 ...so the credit in the box is correct......

Susie Cinc , Back home- 7/3/76- Anaheim
Disney Girls- Blossom Music Center  6/11/82
This Whole World - Groton, Ct 6/19/88
Riot In Cellblock #9- Big Sur  Festival 10/3/1970
Its About Time- Fillmore East 6/27/1971
Surfs Up- Chicago 8/15/73
Take Good Care of Your Feet, Add Some Music To Your Day-  NYC- 11/26/93
Student Demonstration Time- Carnegie Hall 11/23/72
Long Promised Road- Carnegie Hall 11/23/72

/Users/MHL/Desktop/IMG_2498.jpeg

I have read both the Record Collector (#521) and the Shindig! (#118) cover stories. The RC one must be one of the best articles written lately about the group. The Dennis piece on Shindig! was largely built for archive quotes, but the Feel Flows era on Record Collector is well thought and has exclusive quotes from all the surviving bandmates (most interesting is Al Jardine talking about All This is That or Bruce Johnston on 'Til I Die -shame that they used "Brian"'s words from the WIBN book about that song) although the real attraction are the insights of Alan Boyd and Mark Linett (not a fan of the sonics on Smiley Smile).

Thanks for the positive comments. I think you should check out the stereo mix of Smiley Smile that we did several years ago and perhaps  revaluate the sound of the record. What we also discovered was the mono album had one if not two additional generations  of copies used to create fades and edits which given the production , greatly lowered the quality of the mono mix

I'm familiar with the stereo Smiley Smile you did. I love the album in its own twisted way, anyway. Although the original is quite lo-fi, by "not a fan of the sonics on Smiley Smile" I meant that you said that you did not like the sound of it, technically speaking. That was another thing I liked about the piece: hearing from you and Alan Boyd's experiences as fans.

I was referring to the mono master used for the original release, not the recording

I have read both the Record Collector (#521) and the Shindig! (#118) cover stories. The RC one must be one of the best articles written lately about the group. The Dennis piece on Shindig! was largely built for archive quotes, but the Feel Flows era on Record Collector is well thought and has exclusive quotes from all the surviving bandmates (most interesting is Al Jardine talking about All This is That or Bruce Johnston on 'Til I Die -shame that they used "Brian"'s words from the WIBN book about that song) although the real attraction are the insights of Alan Boyd and Mark Linett (not a fan of the sonics on Smiley Smile).

Thanks for the positive comments. I think you should check out the stereo mix of Smiley Smile that we did several years ago and perhaps  revaluate the sound of the record. What we also discovered was the mono album had one if not two additional generations  of copies used to create fades and edits which given the production , greatly lowered the quality of the mono mix

Thanks Mark Linett for all your hard work over the years. Still listen regularly to the Smile Sessions - love that set. Can’t wait for this one too.

You're most welcome........

If I see anything disappointing here it would be "Sound of Free" 1970 single mix 2019 master... was really hoping we would get a stereo version of this, even if they had to create one using today's tech. otherwise, pretty happy with what I'm seeing
 

The multi-track master of Sound of Free could not be found.

Is it only the 5CD that comes with a book?

4 lp and 2 cd come with a diff book from the 5 CD

Hi, I was wondering if anyone could recommend the best way to go about contacting Beach Boys archivists Mark Linnett and Alan Boyd? I realise that they probably don't want to be bothered directly by BBs archive enquiries so this may be a long shot, but I'm asking just in case anyone has any pointers. My enquiry regards checking to see if they were aware of a particular BB archive item for potential use in future projects. Thanks in advance to anyone who can help.

Sent you a PM....... Mark

The whole thing was recorded December 20, 2007. It was available for download the next day for Carl's birthday.

Recorded at my studio

I believe it was recently posted on Brian's website.......

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.

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

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

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

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.

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