The Stephen Desper Thread

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Wow, another great study video!  Amazing how you're able to bring out so much extra depth and clarity without any additional speakers

[Stephen W. Desper]

Wow, another great study video!  Amazing how you're able to bring out so much extra depth and clarity without any additional speakers

COMMENT

Thanks for your astute observation.  What is amazing to me is that Warner7, the record company, dismissed this technology back in the early 70's and thus relegated future Beach Boy releases to plain old stereo. That is over 40 years of stupidity, in my humble opinion.

But now we are on a roll, and I assure you that if you stay tuned, some amazing sounds are going to be coming your way.

~swd

[Peadar 'Big Dinner' O'Driscoll]

Massive thanks for these Mr Desper (and Will) - A real treat for the ears 

[Mitchell]

Can't wait to listen to the latest study!

I have a couple questions, Mr. Desper... Could you comment on stereo vs. binaural, as well as how your matrix would compare to binaural? I'm not sure I've ever heard a true binaural recording, but from what I understand it's superior to stereo but requires headphone listening. How would you say headphone listening affects your "matrix mixes"?

My other question is about mono to stereo... I recall you once saying it was possible to make a true stereo sound out of a mono source using your technology that was not just "duophonic" stereo. I'd be interested in hearing an example of what you mean compared to, say, the new "stereo extraction" mixes on the recent Beach Boys remasters.

Thanks!

[Stephen W. Desper]

Can't wait to listen to the latest study!

I have a couple questions, Mr. Desper... Could you comment on stereo vs. binaural, as well as how your matrix would compare to binaural? I'm not sure I've ever heard a true binaural recording, but from what I understand it's superior to stereo but requires headphone listening. How would you say headphone listening affects your "matrix mixes"?

My other question is about mono to stereo... I recall you once saying it was possible to make a true stereo sound out of a mono source using your technology that was not just "duophonic" stereo. I'd be interested in hearing an example of what you mean compared to, say, the new "stereo extraction" mixes on the recent Beach Boys remasters.

Thanks!

COMMENT:  I don't mind answering your questions, but you (fans) have got to do your own homework. I've got other things to do than research answers to questions that I've already posted.

See:  POST # 1266  Oct. 6, 2012  Page 51
and : POST # 1272  Oct. 8, 2012  Page 51

Suggest you search Google for a "...comment on stereo vs. binaural."  Just enter that question in the search window. There are plenty of enteries on the subject.

I don't know anything about so-called "stereo extraction."  Fill me in.    ~swd

[Mitchell]

Fair enough, I apologize for that.

The stereo extraction is discussed in this video:

http://www.youtube.com/watch?v=hyk9GKFasjY

[Mitchell]

Just watched/listened to the study video. Again, the results are fantastic. I loved how you're 'swimming' in voices during the "boys and girls" part, with them circling your head, as opposed to simply bouncing back and forth.

[Stephen W. Desper]

Fair enough, I apologize for that.

The stereo extraction is discussed in this video:

http://www.youtube.com/watch?v=hyk9GKFasjY

COMMENT

Thanks for that video. I knew of the process, but didn't connect the name. It is a 21st century development for certain. Back to your original question, and I have a question. Where did you read of me saying that any analog technology could make stereo from mono?  Digital I can see, but analog, no. Maybe you could for an instrument or two, but not on the scale of a recorded song.

However, looking at the GV stereo extraction on the scope shows it gives a stereo spread of about 30 degrees out of 180 for true stereo. When I apply the extracted stereo remaster of GV through my device, it gives a stereo image of around 225 degrees and sounds a hell of a lot better. To my hearing, the digital remaster looses the warmth of the original and sounds artificial. When I send the signal through my equipment and manipulate the imaging & and waveform reconstruction, it revives the older sound signature and expands the track around what seems to be mostly mono-centered vocals. I wish I could give you a demo, but it will have to wait on other songs we are doing for posting on VIMEO before I get around to GV in stereo.

All these years Capital's excuse for not releasing any of the songs I mixed through the matrix was that the public was use to hearing them in their present limited stereo format. Now all of a sudden, it's OK to remaster and re-release songs never heard in anything but mono, in stereo. It sort of shoots holes in their argument with me. This is one of several reasons for doing these study-videos and "re-mastering" some songs in a more modern format. Even if the record companies fail to come around, at least some of you fans will hear these songs at their best. 

~swd

[♩♬🐸 Billy C ♯♫♩🐇]

Thank you for that Stephen. Sadly, once I hear these songs like this, hearing them in 'plain old stereo' no longer sounds right!

[Mitchell]

Fair enough, I apologize for that.

The stereo extraction is discussed in this video:

http://www.youtube.com/watch?v=hyk9GKFasjY

COMMENT

Thanks for that video. I knew of the process, but didn't connect the name. It is a 21st century development for certain. Back to your original question, and I have a question. Where did you read of me saying that any analog technology could make stereo from mono?  Digital I can see, but analog, no. Maybe you could for an instrument or two, but not on the scale of a recorded song.

However, looking at the GV stereo extraction on the scope shows it gives a stereo spread of about 30 degrees out of 180 for true stereo. When I apply the extracted stereo remaster of GV through my device, it gives a stereo image of around 225 degrees and sounds a hell of a lot better. To my hearing, the digital remaster looses the warmth of the original and sounds artificial. When I send the signal through my equipment and manipulate the imaging & and waveform reconstruction, it revives the older sound signature and expands the track around what seems to be mostly mono-centered vocals. I wish I could give you a demo, but it will have to wait on other songs we are doing for posting on VIMEO before I get around to GV in stereo.

All these years Capital's excuse for not releasing any of the songs I mixed through the matrix was that the public was use to hearing them in their present limited stereo format. Now all of a sudden, it's OK to remaster and re-release songs never heard in anything but mono, in stereo. It sort of shoots holes in their argument with me. This is one of several reasons for doing these study-videos and "re-mastering" some songs in a more modern format. Even if the record companies fail to come around, at least some of you fans will hear these songs at their best. 

~swd

I completely agree about the 'artificial' sound. It sounds like the process results in a lot of phasing which is unpleasant, particularly over headphones. It does make for an interesting experiment, however, and it'd be cool to hear it improved! I'm in no rush to hear any demo, though. I'm just happy to enjoy whatever you offer on your schedule.

As for where I read that (and I'm going from memory here),  I think it would have been on this board (or the earlier incarnation of same). I tried to find it in the archives but they don't seem to go that far back, sadly.


Back to my headphones and binaural question, I didn't see them quite covered in the previous posts, but I will refrain from asking more on the subjects until I do some more reading and catching up in this thread.

Thanks again!

[Stephen W. Desper]

Back to my headphones and binaural question, I didn't see them quite covered in the previous posts, but I will refrain from asking more on the subjects until I do some more reading and catching up in this thread.

Thanks again!

COMMENT

Mitchell,  I started experimenting with binaural sound in Jr. High School with a geek buddy. We built our own dummy head and built some matrix circuits. Then I got some really good headphones when I moved out of my parent's home. That lead to starting a collection of binaural recordings, both record and tape -- long before CDs. But I never really got that externalized experience without concentrated thinking and fooling myself into thinking I was hearing binaural.  

Move ahead many years and I struck up a friendship with Stephen Temmer of Gotham Audio, the sole US importer of Neumann microphones. [ http://www.gothamaudiousa.com/history/temmer.htm ]  While discussing binaural sound with Stephen, he loaned me the Neumann dummy head KU-100 for a week, with which to experiment. [ http://www.google.com/#hl=en&safe=off&tbo=d&rlz=1W1ADFA_enUS475&sclient=psy-ab&q=neumann+dummy+head+ku+100&rlz=1W1ADFA_enUS475&oq=Neumann+dummy+head&gs_l=hp.1.2.0l2j0i30l2.4665.9391.0.12090.18.15.0.3.3.1.593.3807.0j5j8j1j0j1.15.0.les%3B..0.0...1c.1.6JTLW8S_wsg&pbx=1&bav=on.2,or.r_gc.r_pw.r_qf.&fp=a29aaca7613344d5&bpcl=35466521&biw=1067&bih=484 ]

Al Jardine and I did some recordings with it. I remember taking it to a party once and seeing what I could record.  It was very interesting, but still at eight grand for the head, the results were  touch and go.

Moving ahead further, I did in depth studies of (and look these topics up for headphone education) Head-Related Transfer Functions (HRTF), Head Shadowing or Acoustic Head Shadows, torso influence, and human Ear Pinnea. I have come to learn of the roll the ear's pinnea plays in the localization of sound external to the head. It seems that each of us has our own pinnea shape. The folds in yours are not like mine. Each person is unique. Thus, the brain's pattern recognition is only good for your own set of ears.

I have put putty in the folds of my ear and found that with the putty filling the voids, my ability to place sounds in space was greatly reduced. The most convincing binaural recordings I've ever made for myself was when I put little mics into my ear channel so that all the reflections unique to my ears were captured. Playback over headphones did externalize the sound for me -- and only for me. Others who listened to the same recordings did not hear the sound out of the head.

At that point I lost interest, since I can't go around with mics in my ears or attend concerts with such a situation.

Then recently a company has actually done it right. Every aspect is covered. The best headphones, tactile outputs, in-ear measurement, head-tracking. Everything is covered with their equipment. I have yet to hear this development, but trusted sources rave about it.

The Realizer home page >>>  http://www.smyth-research.com/index.html (you'll need to copy & paste this address)

Informative Review in Stereophile Magazine >>> http://www.stereophile.com/content/music-round-45

Hope this sparks your interest.

~swd

 

[Mitchell]

That's very cool! Thanks for the info.


I attended a conference earlier this year (http://www1.carleton.ca/icslac/livingstereo/) and heard some discussions of mono vs. stereo vs. binaural, from (high-level) technological and cultural standpoints... It was interesting stuff and I was reminded of your work. Essentially the social aspect, i.e., people having listening parties and dancing, played an important part of the "industry choice" of stereo over binaural (I guess it won that format war). But since the advent of the Walkman and moreso now with portable music players, people are more insular than ever with their music listening and it's gone the other way, but stereo remains the norm.

To put it simply (and maybe incorrectly), it seems to me that your invention is an improvement over stereo the way I imagine binaural beats stereo over headphones.

The difference between your work and 'flat steteo' is astounding; I'm wondering if you considered how well it would translate over headphones. From the earlier posts you referenced I see why it's better to work with speakers when mixing, mastering, etc. (and even general listening), but I assume that most people do their listening through headphones these days.

That product you linked does sound like a huge leap forward for headphone listening!

Anyway, that's kind of what I was getting at... Just thought it was an interesting subject!

[Stephen W. Desper]

That's very cool! Thanks for the info.


I attended a conference earlier this year (http://www1.carleton.ca/icslac/livingstereo/) and heard some discussions of mono vs. stereo vs. binaural, from (high-level) technological and cultural standpoints... It was interesting stuff and I was reminded of your work. Essentially the social aspect, i.e., people having listening parties and dancing, played an important part of the "industry choice" of stereo over binaural (I guess it won that format war). But since the advent of the Walkman and moreso now with portable music players, people are more insular than ever with their music listening and it's gone the other way, but stereo remains the norm.

To put it simply (and maybe incorrectly), it seems to me that your invention is an improvement over stereo the way I imagine binaural beats stereo over headphones.

The difference between your work and 'flat steteo' is astounding; I'm wondering if you considered how well it would translate over headphones. From the earlier posts you referenced I see why it's better to work with speakers when mixing, mastering, etc. (and even general listening), but I assume that most people do their listening through headphones these days.

That product you linked does sound like a huge leap forward for headphone listening!

Anyway, that's kind of what I was getting at... Just thought it was an interesting subject!

COMMENT

I would say that the REALIZER is as much of a technological leap over conventional headphones as are headphones over the shoephone used by Maxwell Smart, as shown in your avatar.

Using my device I cannot externalize the sound image, but I can move a mono source from the front of the head to the back, and of course side to side. This does give an enlarged sound over headphones, but it is still an internalized sound field.

~swd

[Mitchell]

Thanks! That's a good analogy 

[Stephen W. Desper]

COMMENT to a fan who wrote:

I have to tell you that I am not one of the long time Beach Boys fans on here.  I've been a fan for years, but it wasn't until a couple of years ago that I "got it."  That being said, I have to say that I am very impressed by your engineering during the 1969-1971 era.  You really gave those songs a special sound that is unique.  There seems to be so much going on at times, yet you can hear so much detail.  With so many engineers, I end up scratching my head wondering what the hell were they thinking, but on a lot of your mixes, I'm saying "WOW!  Listen to that!"

I also have to say that's it really cool that you post on this board.  It's like talking to Geoff Emerick!  (another favorite of mine).  There certainly are a few interesting people on here, but it's nice that they can speak from the heart. 

So I guess I'm just writing to say thank you for your work with the boys on those incredible, underappreciated albums.  I am so blown away by the amount of songs they had recorded around that time, I love compiling my own version of a what-if double album version of Sunflower.  I sure hope there might be a few more surprises from that era forthcoming on the box set.  I'd love to make a proper Surf's Up too!  Student Demonstration Time over some of those Dennis tracks?  No way!

COMMENT from SWD:

Thank you for your generous words of praise. I am curious. What do you mean by "PROPER" Surf's Up? the one on Surf's Up, the album, is produced by The Beach Boys, so what more do you want? And FYI, I have nothing to do with Box Sets. I'm the guy doing the Study-Videos. But, hang in there, more is coming.

~swd

[Al Jardine: Pick Up Artist]

COMMENT from SWD:

Thank you for your generous words of praise. I am curious. What do you mean by "PROPER" Surf's Up? the one on Surf's Up, the album, is produced by The Beach Boys, so what more do you want? And FYI, I have nothing to do with Box Sets. I'm the guy doing the Study-Videos. But, hang in there, more is coming.

~swd

I think he was referring to the albums as the "proper" SU, with tracks like Student Demonstration Time missing in favor of tracks like "Wouldn't it be Nice to Live Again."

[Stephen W. Desper]

COMMENT from SWD:

Thank you for your generous words of praise. I am curious. What do you mean by "PROPER" Surf's Up? the one on Surf's Up, the album, is produced by The Beach Boys, so what more do you want? And FYI, I have nothing to do with Box Sets. I'm the guy doing the Study-Videos. But, hang in there, more is coming.

~swd

I think he was referring to the albums as the "proper" SU, with tracks like Student Demonstration Time missing in favor of tracks like "Wouldn't it be Nice to Live Again."

COMMENT:

I did go to the "Wouldn't It Be Nice To Live Again" thread and read all the posts. All I can say is that about 85% of the statements are just conjucture ... nothing in fact ... blah, blah, blah.  I'm not getting involved except to say that WIBNTLA is not a Beach Boy project and therefore would not be "PROPER" for an album produced by The Beach Boys. At the time that SU was assembled, this song was more-or-less just a concept. It even had a different working titile.  I have (in storage) the first two Surf's Up LPs that I cut, which were presented to Warner7 Records' A&R department . . . and rejected. WIBNTLA was never included, nor could be, with any presentation. FYI, some songs were removed and replaced by others as the track list was honed into something that the A&R dept. thought was the more commercial -- not artistic. This is the record business.

~swd

[mike s]

Hi Stephen

I clearly remember the first time I heard 'This Whole World' back in 1988.

I had bought Sunflower at a record fair as it seemed to have a lot of mentions of Brian Wilson on the cover and I wanted to know more about him.

It was vinyl back in those days and I can remember being transfixd as the last three words were sung in the backing vox:  'this whole wooooorrrrrld' - there was a depth and clarity and bite as they hit the word 'world' that I had never heard before.

At the time I knew absolutely nothing about writing or producing or engineering but I was never the same after hearing that so thanks.

Mike

[Mitchell]

Speaking of early-70s Dennis songs, Mr. Desper, I was wondering if you could tell us anything about the Dennis Wilson & Rumbo (the Captain) 45 "Sound of Free" b/w "Lady", that was released in Europe in December, 1970.

Sound of Free: http://www.youtube.com/watch?v=xizNyCM97zA
Lady: http://www.youtube.com/watch?v=AnrB96pqLsQ


I was also wondering if you could comment on the song "4th of July", which saw the light of day on the 1993 boxed set: http://www.youtube.com/watch?v=H3JJXbF9_Ow


Any insight would be greatly appreciated!

[seltaeb1012002]

Hi Stephen,

I apologize in advance if you've covered this before, but I have a few questions in regards to recording Brian's vocals during the Sunflower / Surf's Up era.

We've been having a discussion in another thread about why he didn't take more lead vocals during this era, and just some general discussion about his vocals during this period.

I think it's safe to say Brian's vocals at this time were still pretty great. On the few parts you hear him throughout these albums, he's still hitting the falsetto sweetly, although if you listen closely, one could hear evidence of the gradual, yet seemingly fast decline leading up to his "gruff", out-of-practice voice of '75-'76.

My questions are:

1) Do you recall Brian talking about the state of his voice during this time?

2a) Was there any evidence of him struggling through his vocal parts?
2b) Did he experiment singing his parts with different tones?
2c) Did he spend a lot of time re-doing his parts, or was he more of a one-take-wonder type?

3) Did he originally sing lead vocals on any of the songs that ended up being someone else's lead, like "Surf's Up"? (... maybe "This Whole World" for instance?)

4) More on the technical side, but it ties in - I notice there's a lot of highs on BW's vocals on Sunflower & Surf's Up. I think it sounds great. Was this just a mixing decision on your end, or did Brian want to sound "brighter"?


Thanks so much for your time, and thanks also for providing us with the great study videos! I think we all really look forward to seeing / hearing what's next.

Best,
J

[Stephen W. Desper]

Speaking of early-70s Dennis songs, Mr. Desper, I was wondering if you could tell us anything about the Dennis Wilson & Rumbo (the Captain) 45 "Sound of Free" b/w "Lady", that was released in Europe in December, 1970.

Sound of Free: http://www.youtube.com/watch?v=xizNyCM97zA
Lady: http://www.youtube.com/watch?v=AnrB96pqLsQ


I was also wondering if you could comment on the song "4th of July", which saw the light of day on the 1993 boxed set: http://www.youtube.com/watch?v=H3JJXbF9_Ow


Any insight would be greatly appreciated!

COMMENT:

Sound of Free -- No comments

Lady -- Dennis and I worked on this song many morning sessions at the house studio when no one else was around. It took a lot of time to get the vocal sound you hear. Several microphones were auditioned -- and combinations of mics. Then the singing took days of takes until Dennis was satisfied. He was looking for the approach to singing this love song that he felt was sincere and came across that way. The vocal was sung to a piano scratch track Dennis laid down first. Actually this was one of the first songs which he recorded after he taught himself how to play the piano, so the playing was a little ruff. One of the comments left on the youtube.com video of this song said this was a remix. That is not true. I think people just make things up like this -- I read crap like this all the time, other people read it and think it's factual, then this misinformation becomes common knowledge and it goes on and on. You guys are the victims of your own folly.

This is my mix. Dennis did not like to hear his voice and always buried it so far down you could not hear the words. Listen to many of his songs -- you can't hear him singing, and that is by Dennis’ hand. Well on this mix I told him I was mixing him up or I would erase the whole thing when he wasn't looking. I actually got pissed at him. I told him it was too beautiful a song and vocal -- ". . . just get over yourself, Dennis. There are too many people who should hear you sing!"  It was at my suggestion that the vocal start out dry and go wet with the guitar's entrance. I also recognize other nuances in balances that only the mixer would remember. And that is the sound of the home chamber with a Type ‘A’ Professional Dolby unit inserted into the output of the chamber's mic preamps, set to resolve the signal. What that technique does is to extend the delay time of the chamber -- almost double its "acoustic size." On the track all you hear is that stupid cheap rhythm machine, an accessory on the Baldwin organ -- that was the track! That and a bass guitar was it!

To everyone else this song was "just Dennis fooling around in the studio."  No one took Dennis or his attempts seriously. It was Dennis at play. But behind the scenes, Daryl was working with Dennis, teaching him about the piano. Of course Dennis played the song for Daryl. Daryl took the song home with him and wrote all the string arrangements -- but no one cared, or even knew.

Some time later, maybe a week or two later, we were to have a huge string session at A&M studios main studio. It was mostly to score one of Bruce's songs, but also two others. Bruce had made friends with Michaela Columbia (spelling incorrect) whom he had met in Paris. Michaela was a big-time arranger -- a bigger than life character who know how to play the part -- who arrived in a limo with a flowing cape and large rim hat. Very Ta Ta Ta. Now he was a talented guy (his girlfriend was a striking French model - Wow!) and he had several big-selling albums under his belt. A celebrity in Europe at the time. Bruce was impressed and had convinced him to arrange the violin parts for The Nearest Far Away Place (I think it was) plus some minor sweetening parts for two other songs Carl was working on, while he was in Hollywood working on a movie sound track. This was a big session. Thirty 1st violins, 20 2nds, a dozen violas, six cellos or so and the same number of string bass. A lot of money was being spent. A&M studios was a prestigious place -- 1st class. We booked a huge studio with a conductor’s podium; the orchestra, positioned in a semicircle about the podium.

I mounted the tape for ‘Nearest and got a monitor mix. Then proceeded to work with the A&M studio engineer to get a balance from the thirty or so microphones out in the studio as the string players practiced their parts under the direction of Michaela. Bruce and Carl were a little nervous, this being their first big string date without brother Brian around. Dennis and Daryl had shown up too, bringing with them the multi-track for Lady, but with low expectations to do any recording. We had only three hours to track ‘Nearest and to sweeten two other songs. In session work that is pushing the clock, but Michaela was quite good and on top of all the parts and balance of the orchestra. The session went without any hitches. Bruce was elated with the arrangement and Carl too. We actually finished in two hours and forty five minutes. Everyone was standing in the control room complimenting their work while I could see the musicians starting to pack up. 

From the corner of my eye I could see Dennis and Carl in a short conference. Dennis came over to me and said, “Let’s go.” Daryl was already in the studio passing out his prepared parts on manuscript papers. Dennis was in shorts and Daryl was wearing blue jeans and a white T-shirt with his boat captain’s cap and dark glasses, looking a little out-of-place for that scene. We had ten minutes left in the session. Go one minute over and you just bought another three hours in a session block of time with all these musicians – thousands of dollars in overtime. But Lady was a short song. Remember these are studio ‘cats.’ These players are amazing. They can sight-read once and play anything perfectly. That’s why they get the big bucks.

I played the multi-track – first few bars of Lady with Dennis singing and the piano track and bass. That was it. Took 30 seconds to get a monitor mix. The string section microphones were already balanced. Meanwhile there was a lot of talking going on behind me. No one was really that interested in whatever it was that Dennis was doing. And actually he was just quietly sitting at the producer’s desk watching out the studio window. Daryl climbed to the podium and raised his hands. The musicians did a quick tuning. No big deal in the control room as everyone just kept on with whatever they were so interested in discussing. I rewound the tape and started playing and recording strings on four tracks, again from the top. In a few bars the violins started playing. Almost at once the control room went silent. Everyone turned. All attentions were now fixed on the lush sound never before heard, as Daryl conducted in a style befitting any seasoned leader. As Lady played on, and the arrangement unfolded into something completely unexpected I could hear comments like “wow” and “beautiful” being murmured from behind me. With the ending of the song came applause, and then lots of comments and attention to Dennis. It now reminds me of that time when Susan Boyle surprised everyone that night on Britians Got Talent - 2009.

Immediately Michaela moved toward Dennis asking, who is that arranger. Dennis turned around with that sheepish grin he can make, (that little “are you talking to little ‘ol me” look of innocence he does) and responded, “Oh, that’s my friend Daryl Dragon, he’s a graduate of Julliard. His father is conductor of The Glendale Symphony Orchestra, Carmon Dragon.”  Michaela insisted, “I must meet him” – spoken with a French accent in English. In the studio Daryl was matter-of-factly retrieving his manuscripts from all the musicians who are now packing up and telling him what a great arrangement he had just conducted, and how it “made the song.” Michaela swiftly move into the studio proper, I could see him extending his hand to Daryl and making swooping gestures as they exchanged words.

Personal observation . . .   I would say that this is the point in BB history where Dennis “came of age.” This was his turning point with the other guys. From this session on, he was recognized as a real writing talent, and not just a drummer with little more to contribute. This was the fork in the road, the change in direction, his time of acceptance into the creative fold.

Back in the control room, Dennis, now joined by Daryl, were being congratulated for the beautiful song that had just immerged from this session. All of a sudden the spotlight shifted from Michaela to Dennis. The praises and congratulations were all flowing toward the 'two 10-minute wonders' that had managed to squeeze the biggest surprise of all from the session and created a stunning yet simple love song.

The final mix was done at the house studio. We eliminated the piano because it was not really necessary and the strings sounded best on their own. As to why the song was never release here, I do not know. It has always been in my own library and one of my favorite Dennis originals. I have mixed it many, many times in concert.

4th of July – Thanks for bringing that video to my attention. I often wondered whatever happened to this song. When Dennis and I were working on it, it had no title. He, Dennis, had laid down the tremolo background track sound for this song, which was just that, an idea for chord changes and a sketchy lead. It was one of the many songs that Dennis started but never finished. I assume Jack R. worked with Dennis to write lyrics and finished it. I’ve never heard Carl sing the lead, only Dennis sing what he thought might be the lead or melody. From what I hear, a lot more work went into the song after it was in the tape vault for years. The flute and overdub of same, if I remember correctly, was played by Daryl’s sister, Kathy – a once-upon-a-time girl friend of mine. She was a student of the flute and happily played the part for the song. However, her playing could well have been replaced. I really don’t know about that or much of anything more with this song.

Good Listening,   ~Stephen W. Desper

[Stephen W. Desper]

Hi Stephen,

I apologize in advance if you've covered this before, but I have a few questions in regards to recording Brian's vocals during the Sunflower / Surf's Up era.

We've been having a discussion in another thread about why he didn't take more lead vocals during this era, and just some general discussion about his vocals during this period.

I think it's safe to say Brian's vocals at this time were still pretty great. On the few parts you hear him throughout these albums, he's still hitting the falsetto sweetly, although if you listen closely, one could hear evidence of the gradual, yet seemingly fast decline leading up to his "gruff", out-of-practice voice of '75-'76.

My questions are:

1) Do you recall Brian talking about the state of his voice during this time?

2a) Was there any evidence of him struggling through his vocal parts?
2b) Did he experiment singing his parts with different tones?
2c) Did he spend a lot of time re-doing his parts, or was he more of a one-take-wonder type?

3) Did he originally sing lead vocals on any of the songs that ended up being someone else's lead, like "Surf's Up"? (... maybe "This Whole World" for instance?)

4) More on the technical side, but it ties in - I notice there's a lot of highs on BW's vocals on Sunflower & Surf's Up. I think it sounds great. Was this just a mixing decision on your end, or did Brian want to sound "brighter"?


Thanks so much for your time, and thanks also for providing us with the great study videos! I think we all really look forward to seeing / hearing what's next.

Best,
J

COMMENT:

All your questions were answered in my book Recording The Beach Boys.  Sorry if you don't have a copy. However, it is a great possibility that an edition will be forthcoming before the end of the year.  Stay tuned.     ~swd

[runnersdialzero]

Awesome read, thanks Mr.Desper. Kind of disappointing that the end of the story is "And then it was released on an obscure single, remained unavailable for years and years, and was released with a very different mix a few years ago while the original is still difficult to come by."

[Stephen W. Desper]

Awesome read, thanks Mr.Desper. Kind of disappointing that the end of the story is "And then it was released on an obscure single, remained unavailable for years and years, and was released with a very different mix a few years ago while the original is still difficult to come by."

   

COMMENT:

To which song are your comments directed? In your post are you quoting me?  If so, where did I say what you state between the quotation marks?  If not, perhaps you are posting on the wrong thread.   ~swd

[Mitchell]

That would be Lady, which was released in a remix on the 2009 compilation Summer Love Songs:
http://www.youtube.com/watch?v=vKOItN0JiSc&feature=youtube_gdata_player

Thank you so much for your writing and memories... I felt like I was there, and at such a pivotal point in Beach Boys history, like you say... Phew. I wish you could write about every session you ever attended in detail like that!!