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Author Topic: The Stephen Desper Thread  (Read 718845 times)
Stephen W. Desper
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« Reply #950 on: March 16, 2009, 05:03:21 PM »

COMMENT to all:

I found this re-make of Kokomo and know everyone will want to hear and see it.  Perhaps it was posted earlier. If so, I apologise for reposting.

I think the soldiers who did this re-make did a marvelous job with excellent production values.  To be able to make a stereo sound track to video shots and edit the whole thing while serving in the US Army in a war zone makes me proud to have also served in the Signal Corp, US Army during my life.  It only underscores that if soldiers serving in that area have the time to make such productions, it's time for them to come back home!

ARMY BEACH BOYS >>> [ http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=53135016 ]

You can also find this video on RealTime with better video resolution by entering Army Beach Boys.

Good Listening
  ~Stephen W. Desper
« Last Edit: March 17, 2009, 06:04:34 AM by Stephen W. Desper » Logged
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« Reply #951 on: March 16, 2009, 05:31:44 PM »

Oh my gosh. That is hilarious. And to be honest, it makes me proud, sad, impressed and I don't even know what all else. Mostly, I hope those guys all get (or got) home safe.
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Stephen W. Desper
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« Reply #952 on: March 17, 2009, 06:01:23 AM »

Oh my gosh. That is hilarious. And to be honest, it makes me proud, sad, impressed and I don't even know what all else. Mostly, I hope those guys all get (or got) home safe.

COMMENT TO LUTHER:

Further searching reveals that it was members of the Norwegian Army Telemark battalion who did the video -- but as we say in the field . . .  when the bullets are flying overhead, we're all in the same man's army.

When I first listened to this piece, I thought how much more liberal the US Army is now than when I served.  When I was in you would never have been allowed to make such political charged comments to the general public. Now that I know it was made by someone in an allied army -- from a country that has more personal freedom than the USA -- I can see how they got away with their commentary.
~swd
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« Reply #953 on: March 18, 2009, 12:34:58 PM »

That video has been floating around the internet for a couple of years now. The song they were miming to was recorded by radio DJ and parody artist Bob Rivers, also known for songs like "The Twelve Pains of Xmas", "What if God Smoked Cannabis?", "Cheney's Got A Gun", etc.
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« Reply #954 on: March 18, 2009, 12:59:09 PM »

Mr. Desper, if you don't mind, here's the first recording of my band.
We used "Garage band" and recorded the drums with one or two (I really can't remember) overheads and also each drum with an own mic. We overdubbed guitars, bass and percussions afterwards. But not all at once. If you got time and interest, what do you think about the mix and the sound? It kinda doesn't have the sound of a "professional" recording imo.

http://www.myspace.com/orangewhipband
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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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Stephen W. Desper
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« Reply #955 on: March 19, 2009, 06:33:46 AM »

That video has been floating around the internet for a couple of years now. The song they were miming to was recorded by radio DJ and parody artist Bob Rivers, also known for songs like "The Twelve Pains of Xmas", "What if God Smoked Cannabis?", "Cheney's Got A Gun", etc.

COMMENT TO ALEX:

Well, that explains a lot.  I knew if I put this out for comment from the fan base, someone would know more about this video than meets the eye.  Thank you Alex for your wisdom and explanation. 
~swd
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« Reply #956 on: March 19, 2009, 11:06:05 AM »

That video has been floating around the internet for a couple of years now. The song they were miming to was recorded by radio DJ and parody artist Bob Rivers, also known for songs like "The Twelve Pains of Xmas", "What if God Smoked Cannabis?", "Cheney's Got A Gun", etc.

COMMENT TO ALEX:

Well, that explains a lot.  I knew if I put this out for comment from the fan base, someone would know more about this video than meets the eye.  Thank you Alex for your wisdom and explanation. 
~swd

Mr. Desper, this really has nothing to do with the "Kosovo" video, and is probably something 8000 other people have already said, I'll just go ahead and say it. I love your work on the Sunflower and Surf's Up albums. I never get tired of listening to them, and am continually blown away by the production, mix, sound, etc. of those two albums.
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Stephen W. Desper
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« Reply #957 on: March 19, 2009, 03:48:26 PM »

That video has been floating around the internet for a couple of years now. The song they were miming to was recorded by radio DJ and parody artist Bob Rivers, also known for songs like "The Twelve Pains of Xmas", "What if God Smoked Cannabis?", "Cheney's Got A Gun", etc.

COMMENT TO ALEX:

Well, that explains a lot.  I knew if I put this out for comment from the fan base, someone would know more about this video than meets the eye.  Thank you Alex for your wisdom and explanation. 
~swd

Mr. Desper, this really has nothing to do with the "Kosovo" video, and is probably something 8000 other people have already said, I'll just go ahead and say it. I love your work on the Sunflower and Surf's Up albums. I never get tired of listening to them, and am continually blown away by the production, mix, sound, etc. of those two albums.

Thanks for your kind comments.  Working with such terrific talent as exemplified by the six Beach Boys of the time would make any engineer rally to the call.  We all played off of each other to make the albums you so much love.  But again, I'll take to heart your praise.   ~swd
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« Reply #958 on: March 21, 2009, 05:26:33 AM »

I will have to check out the Wall-e special feature.  It sounds like a great watch.  I liked the movie quite a bit and gave the DVD to my sister for Christmas, but she lives in Japan so I can't borrow it from her.  I guess that's what Blockbuster is for.
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Stephen W. Desper
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« Reply #959 on: March 25, 2009, 02:31:02 PM »

see next posting
« Last Edit: March 25, 2009, 02:47:58 PM by Stephen W. Desper » Logged
Stephen W. Desper
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« Reply #960 on: March 25, 2009, 02:46:13 PM »

COMMENT TO SAM_BFC:

I have been in this business long enough to see the reverb trend move back and forth several times.

Of course in the beginning there was no reverberation because the musicians clustered about those old acoustic horns to gather acoustic energy enough to move the needle back and forth in soft wax.  Then with the advent of electronics, tubes and mixing controls, records and radio used reverb as an effect, a sound effect. As time went on reverb became more of an embellishment or compliment to the original pickup. Studios were designed for the musician to hear within and the sound of the recordings made in these rooms was vibrant and alive sounding due to both the acoustics and the fact that all the musicians played all at once -- including the singer.

When I first started out working in a local Florida studio, it was soon redesigned by Bill Putnam. If you know your recording history you will know how much influence this heavyweight pioneer yielded. The studio he designed had polycylindrical diffusers running horizontal and vertical on opposite walls with a linoleum floor. The studio was live, yes, but the sound was even and balanced.

The next big step I heard in records was do to  the multi-track onslot and acoustic designs by Tom Hidley. His acoustic technique changed everything.  Musicians were separated into dry acoustic areas or cushioned rooms and heard each other over headphones. Of course the multi-track machine allowed for a high degree of separation and reverb was not recorded as a studio room sound, rather added from a reverb room, echo chamber or reverb plate. Thus giving the producer much greater control overall.

Today it seems we have a mixture. People are rediscovering how to play together in one acoustic space, on one hand. While on the other, total fabrication through sampling and reverb as a computer algorithm is the vogue.

Try this publication for more history and perspective:

Echo and Reverb: Fabricating Space in Popular Music Recording, 1900–1960.
By Peter Björnberg  ...   see  >>> [ http://ml.oxfordjournals.org/cgi/content/long/88/2/379 ]

Brief Passage from the above book, Music and Letters can be seen here  >>> [ http://muse.jhu.edu/login?uri=/journals/music_and_letters/v088/88.2bjornberg.pdf ]

You will also find a facinating reading in this publication from the UK.  I'll provide you with the link, but I don't know how to tell you how to open it.  I believe it's a PDF file. Hope you can figure it out as this is the best paper on the subject.  From `My Blue Heaven' to `Race with the Devil': echo, reverb and (dis)ordered space in early popular music recording here is an abstract from a seven page essay . . .

With the dramatically improving fidelity of electric sound recording in the 1920s, aural spatiality – traces of room ambience and reverberation – became a factor in record production. Drawing on prior radio broadcast practice, a split occurred whereby ‘fine’ orchestral musics were recorded with relatively high levels of ambient or atmospheric sound while dance music, popular songs, humorous recitations and other ‘low’ forms were generally recorded with little or no reverberation. Through the 1930s and 1940s, popular recording occasionally, though increasingly, made use of mechanically fabricated echo and reverb to present a kind of sonic pictorialism, especially on singing cowboy and popular ‘Hawaiian’ recordings. Hollywood film sound practice in this period employed similar sonic space-making devices to denote states of terror, mystical revelation and supernatural transformations. The coming of rock ‘n’ roll in the 1950s, with its characteristic big echo and reverb production sounds, may be seen as the radical recombining of these contradictory antecedents, effected in such a way as to allow (and promote) disordered, non-pictorial sound spatialities.

see  >>>  [ http://journals.cambridge.org/production/action/cjoGetFulltext?fulltextid=196526 ]

A short History is here  >>> [ http://www.recordinginstitute.com/da154/ARP/chap3Sig/0308hist.html

If you are a Bob Dylan fan, Keith Negus offers this insight into recording  >>> [  http://www.charm.rhul.ac.uk/content/events/s5negus.pdf ]       
 

~swd
Posted on: March 21, 200
« Last Edit: March 25, 2009, 03:14:12 PM by Stephen W. Desper » Logged
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« Reply #961 on: March 25, 2009, 02:57:01 PM »

Stephen that is really fantastic...Thanks a lot!!
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Stephen W. Desper
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« Reply #962 on: March 25, 2009, 03:34:27 PM »

Stephen that is really fantastic...Thanks a lot!!

ADDITIONAL COMMENT TO SAM_BFC

Here is an additional link to Google Books on this excellent book on reverb history

ECHO and REVERB by Peter Doyle >>> [ http://books.google.com/books?id=IVvPn5YX3oQC&dq=From+'my+blue+heaven'+to+'race+with+the+devil':+echo,+reverb&source=gbs_summary_s&cad=0 ]
 


~swd
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Stephen W. Desper
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« Reply #963 on: March 26, 2009, 06:21:55 AM »

Stephen that is really fantastic...Thanks a lot!!

COMMENT TO SAM_BFC

You are most welcome.  In helping you I learn also
.
  ~swd
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Stephen W. Desper
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« Reply #964 on: March 26, 2009, 06:31:32 AM »

COMMENT TO ALL FANS INTERESTED IN SOUND RECORDING HISTORY

HEADS UP TO AEIJTZSCHE and SAM_BFC

While finding links to books on reverb history I came across a book that I'm going to buy and thought you might like to own too.  Its title says it all,  Temples of Sound.

At the link below, you can click the preview tab and read quite a lot of history about early Beach Boy sessions. There are several photos of the guys; one from a 1961 vocal session.  From the preview it looks like this book is filled with photos of recording sessions that I know aeijtzsche would call eyecandy. 

TEMPLES OF SOUND >>>  [ http://books.google.com/books?id=hO-KQ4o_B2MC ]


~swd
« Last Edit: March 26, 2009, 06:35:18 AM by Stephen W. Desper » Logged
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« Reply #965 on: March 26, 2009, 04:33:40 PM »

COMMENT TO ALL FANS INTERESTED IN SOUND RECORDING HISTORY

HEADS UP TO AEIJTZSCHE and SAM_BFC

While finding links to books on reverb history I came across a book that I'm going to buy and thought you might like to own too.  Its title says it all,  Temples of Sound.

At the link below, you can click the preview tab and read quite a lot of history about early Beach Boy sessions. There are several photos of the guys; one from a 1961 vocal session.  From the preview it looks like this book is filled with photos of recording sessions that I know aeijtzsche would call eyecandy. 

TEMPLES OF SOUND >>>  [ http://books.google.com/books?id=hO-KQ4o_B2MC ]


~swd

I picked this book up a couple years ago, and it IS pretty cool.
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« Reply #966 on: March 27, 2009, 05:03:53 PM »

COMMENT TO ALL FANS INTERESTED IN SOUND RECORDING HISTORY

HEADS UP TO AEIJTZSCHE and SAM_BFC

While finding links to books on reverb history I came across a book that I'm going to buy and thought you might like to own too.  Its title says it all,  Temples of Sound.

At the link below, you can click the preview tab and read quite a lot of history about early Beach Boy sessions. There are several photos of the guys; one from a 1961 vocal session.  From the preview it looks like this book is filled with photos of recording sessions that I know aeijtzsche would call eyecandy. 

TEMPLES OF SOUND >>>  [ http://books.google.com/books?id=hO-KQ4o_B2MC ]


~swd

I picked this book up a couple years ago, and it IS pretty cool.
A 1961 photo of the Beach Boys as a group exists? That would be the first one ever to surface.
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« Reply #967 on: March 27, 2009, 10:30:07 PM »

It's from the 1962 Surfin Safari LP session. The book mislabels it. Cool picture though
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« Reply #968 on: March 27, 2009, 10:48:50 PM »

It's from the 1962 Surfin Safari LP session. The book mislabels it. Cool picture though

Do you know if that photo appears in any other books?
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« Reply #969 on: March 28, 2009, 01:09:04 AM »

Click on the link write Beach Boys into search and you will see it. It may have been used on one of the Capitol cd's.
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« Reply #970 on: March 28, 2009, 01:36:18 AM »

Click on the link write Beach Boys into search and you will see it. It may have been used on one of the Capitol cd's.

Sorry MBE, but I'm having trouble finding the picture? I searched "Beach Boys" in the "Search in this book" section and it only gives me little snippets of some of the writing in the book. I also searched at the top as well but still nothing Undecided
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« Reply #971 on: March 28, 2009, 02:44:15 AM »

Click where page 27 pops up.
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« Reply #972 on: March 29, 2009, 05:54:36 AM »

Click where page 27 pops up.

I still couldn't figure it out, but thanks anyway MBE. I'm thinking maybe it's one of those things where since I'm from Australia it won't let me see a preview? It seemed to indicate that the book (for me) is only available in little snippets and no full page previews.
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« Reply #973 on: March 29, 2009, 12:28:59 PM »

Stephen I wonder if you could provide any details on how you worked with reverb when you recorded with the BBs?  Did you generally record dry than add effects from a plate/chamber etc??

PS Let me also say also at this point, just as many others have, how much of a fan I am of the work you did on those BBs albums in the 70s and how cool it is we get to talk to you on here about those sessions...
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« Reply #974 on: April 11, 2009, 07:22:44 AM »

Hi Stephen. I'm going to echo what others have said before and say that we appreciate you talking with us here and your work with the guys on those records.

I was wondering how much of Brian's 'Ol' Man River' experiments you recall? The fragments we have on Hawthorne/the Friends twofer are beautiful. and (although this is probably a question for Mark/Alan) how much of it is in the vaults/and any chance of more seeing the light of day? Sorry if this has been asked before.

Thanks!
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All roads lead to Kokomo. Exhaustive research in time travel has conclusively proven that there is no alternate universe WITHOUT Kokomo. It would've happened regardless.
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