The Stephen Desper Thread

[Stephen W. Desper]

BTW, the first few links are dead.....sorry to not contribute something more substantive...

COMMENT:
Thanks for the heads-up !!  The Addendom and Part One are huge files.  They have consumed all my memory. I'll contact Vimeo to buy more memory after the "labor day" holiday when they re-open for business. Until then, you will have to wait on the weekend to pass before the earlier study-videos are back up. However, there's plenty of music still available via part one and the addendum. 

Sorry about this. If it's not one thing, it's another. Last month some hacker replaced my website with soft-porno. I didn't discover it until a fan sent me a message. Then it took a few days to get everything back in order. 

It was so much simpler before digital came along. ~swd

[LeeDempsey]

Stephen, not to take attention away from your study videos (the addendum to Part 1 is fascinating!), but a question was posed in the Media section of the board about the original Reprise / Ampex 7 1/2 ips reel-to-reel issue of SUNFLOWER... Did you and Carl prepare a separate master for the non-LP formats (reel-to-reel, 8-track, cassette), and if so, what mastering / EQ differences would you have introduced?

Thanks,

Lee

[Stephen W. Desper]

Stephen, not to take attention away from your study videos (the addendum to Part 1 is fascinating!), but a question was posed in the Media section of the board about the original Reprise / Ampex 7 1/2 ips reel-to-reel issue of SUNFLOWER... Did you and Carl prepare a separate master for the non-LP formats (reel-to-reel, 8-track, cassette), and if so, what mastering / EQ differences would you have introduced?

Thanks,

Lee

COMMENT: The mastering phase of album production is mostly used to make final and last-minute, usually minor, adjustments to balance, blends, levels and tonality. These are still artistic calls. They should be considered as part of the creation process, especially when the producer is involved in the mastering sessions. Of course, in its day, Sunflower was mastered to the LP. That is, the assembled master tape (a collection of songs, each mixed to it's own master) has to be made so that each song's ending has to work with the next song's beginning with respect to levels and apparent volume or loudness, tempos, and overall sound (EQ) . . . plus the overall sonic signature of the album must fit into how other songs from other performers and record company's products sound -- like on the radio. Thus, the master tape or disc of any song is not finished at mixdown, rather it is finished at mastering.

Before proceeding, I must make it clear that all the arguments for re-mastering seem to be based on the fact that the name of the mastering master (not the mixdown master) has "LP" in it -- THE LP MASTER. Somehow this makes it obsolete when it should be absolute. When we moved from the LP to the CD, do we just discard everything associated with the LP? And along with that thinking comes the notion that the so-called LP Master is somehow not workable for the CD. What a stupid notion. Rock & Roll (and about all genres except classical music) only require 30 to 35 dB of dynamic range, 30-15,000 Hz of frequency range, and room for five to twelve songs per disc.  The LP 33.33 disc, the redbook standard CD, and magnetic tape (even the cassette) all can meet this requirement. There is no need to re-adjust anything about the music to meet any mass-distribution means. Listen to the needle-drop of Sunflower LP or the Addendum LPs of the Study-Videos. The only difference you hear is the absence of vinyl din (tracing noise) right before and after the music. But during the music, there is no difference between any of these storage mediums. And if you have a completely analog system and play any LP, it will sound the best by virtue of being a complete representation of the production and not a sampled waveform. Digital versions do cut-out (remove and destroy) the final adjustments and changes made by and approved by the original artist.

The LP Master is the final master and is used for all distribution means. It is the artist's final word! There is no need to master for each type of distribution (with the exception of the 45 single). To answer your question -- No, there is no other master. The LP master tape is the final word. Sometimes a cassette master is made for the cassette and 8-track duplication machine, but this is due to timing differences (sides 1-2-3-4) and not tonal problems. Going back to before mastering takes the artist out of the production.

This was all covered in a previous thread where I wrote extensively on this topic along with part two of the book.

I have copies of SF and SU in cassette, 8-track, reel-to-reel, LP, CD, and in some cases a copy of the original master LP tape. Again I must state that the requirements of a popular song are easily met by any of these distribution methods.    ~swd   

[LeeDempsey]

Thanks Stephen.  I hope you didn't find my question unnecessary, as there are instances from other artists where, for example, the 8-track version of the album has different fades / edits (possibly due to time constraints) or mix variations (not as easily explained) from the LP, which would indicate to me that different masters were produced.   Those variations are highly coveted by collectors of those artists.  Good to know that's not the case with the Beach Boys catalogue.

Lee

[smj1975]

Thanks for taking the time put these videos together, Stephen. These are invaluable.

[DRM]

Mr. Desper, thank you very much for being able to articulate so well what you do.  You add tremendous insight and "insider" knowledge that we otherwise would not be privy to.  Additionally, I love your version of 'Till I die, it just floored me when I first heard it.  It caught me off guard in a very deep and transcendent manner.   I recently bought Sunflower via cassette, ZT 46950.  The insert notes state, of course, that you were the Chief Engineer and Mixer.  To me, cassettes, when done well,  sound more "real" and lifelike.  Fuller sound "shapes".  More dynamic in their "movement".  Sometimes I think, although cassettes have their limitations, that they are closest to the Master Tape among all of the mediums available.  Will "new" cassette projects be possible for any of your work with the Beach Boys?  The insert notes for the Sunflower cassette struck me right away as being unique and more informative than most inserts:  "All original recording was done on a special 3M 16-track tape recorder, supplied by Wally Heider Recording Inc. of Hollywood, using 2 in. wide tape.  Tape to disk transfer was done at Artisan Sound Recorders, Hollywood, utilizing the latest model Neumann computer controlled mastering lathe, equipped with a Neumann SX-68 helium-cooled, dynamic feedback cutterhead.  The songs on this record were recorded in true sterophonic sound; they are not 16 monophonic signals placed somewhere between right and left speakers blended together with echo, but rather total stereo capturing the ambiance of the room and the sound in perspective as heard naturally by the ear.  Although more difficult to perfect, this type of recording is far more satisfying to hear, as will be demonstrated upon playing this album."  The insert also states that this cassette was digitally remastered.  Could you please inform whether the cassette was a direct Master Tape to cassette transfer or was digital part of the chain for this Sunflower cassette?  The answer to this question may be obvious to some, given the "digitally remastered" notation...but I'm still curious.  Thank you very much for whatever you may or may not want to comment on.

[Stephen W. Desper]

Mr. Desper, thank you very much for being able to articulate so well what you do.  You add tremendous insight and "insider" knowledge that we otherwise would not be privy to.  Additionally, I love your version of 'Till I die, it just floored me when I first heard it.  It caught me off guard in a very deep and transcendent manner.   I recently bought Sunflower via cassette, ZT 46950.  The insert notes state, of course, that you were the Chief Engineer and Mixer.  To me, cassettes, when done well,  sound more "real" and lifelike.  Fuller sound "shapes".  More dynamic in their "movement".  Sometimes I think, although cassettes have their limitations, that they are closest to the Master Tape among all of the mediums available.  Will "new" cassette projects be possible for any of your work with the Beach Boys?  The insert notes for the Sunflower cassette struck me right away as being unique and more informative than most inserts:  "All original recording was done on a special 3M 16-track tape recorder, supplied by Wally Heider Recording Inc. of Hollywood, using 2 in. wide tape.  Tape to disk transfer was done at Artisan Sound Recorders, Hollywood, utilizing the latest model Neumann computer controlled mastering lathe, equipped with a Neumann SX-68 helium-cooled, dynamic feedback cutterhead.  The songs on this record were recorded in true sterophonic sound; they are not 16 monophonic signals placed somewhere between right and left speakers blended together with echo, but rather total stereo capturing the ambiance of the room and the sound in perspective as heard naturally by the ear.  Although more difficult to perfect, this type of recording is far more satisfying to hear, as will be demonstrated upon playing this album."  The insert also states that this cassette was digitally remastered.  Could you please inform whether the cassette was a direct Master Tape to cassette transfer or was digital part of the chain for this Sunflower cassette?  The answer to this question may be obvious to some, given the "digitally remastered" notation...but I'm still curious.  Thank you very much for whatever you may or may not want to comment on.

COMMENT:  Record companies are free to screw up any product in their lineup -- and do all the time. I have no idea what "digitally remastered" means other than to say that because the word "digital" is in the description it's suppose to be something of an improvement or more up-to-date over the original. Like saying it's "Organic Shampoo" means it will clean your hair better than the non-organic variety. Cassettes made back when Sunflower was new were copies of the original LP Master Tape. But like all things analog, digital sampling with all its ability to manipulate the original intentions of the product, is sold as an improvement. In some cases it may well be an improvement, but with respect to Beach Boy product, I always prefer to hear any release as close to the original as possible, especially if the artist is involved in the original and not the re-issued, or re-mastered, or re-worked changes made by some junior engineer in a back room studio that was once used as a broom closet.

The technical notes on Sunflower and Surf's Up are talked about in Part Two of my book. That will be a Study-Video coming out this winter.  You'll like it. It has many photos and stories about working with the guys. AND as usual, this study-video will discuss the songs of SU in detail. Again, it will be the only place to hear the original intention of the original artist, mostly because the songs will be re-mastered from original sources and acted upon by the Matrix device. 

A big thank you to you and to all fellow Beach Boy fans for the many encouraging words you have posted. They do mean much to me and all involved in bringing these study-videos to you. ~swd

[DRM]

Thank you very much, Mr. Desper, for your response.  I appreciate it.

[sockittome]

Mr. Stephen Desper, the Part 1 Addendum video is incredible!  A real eye-opener...or ear-opener...or whatever! 

Hearing the two rejected albums is quite a treat, although it reinforces the fact that the released song lineup of Sunflower turned out perfect.  It's great to hear earlier stages of this classic and it's clear to see (um, hear!) that you put an enormous amount of effort into achieving the highest possible quality of sound.

One specific question:  I noticed that "Lookin' at Tomorrow" on the second prototype doesn't have the phasing effect on the vocal.  Personally I think it sounds much better.  Do you recall any story behind what led to that vocal being altered in that way for the song's release on the SURF'S UP album? 

Comment:  Don't worry, your question about LAT is very much answered in Part two of the book. ~swd

Looking forward to it!

[DRM]

Mr. Desper, your videos are wonderful, quite a treasure.  Vega-tables is awesome.  I have listened again recently to Sunflower and Surfs Up, both albums in full.  It's extraordinary the way you bring the voices up front and position them and move them around, how each voice compliments and works with the other, a voice coming in to join another voice, voices weaving in and out between the foreground and background and on both sides, and just mixing in so well with each other.  One voice resurfacing, then giving way to another voice, without the effect of the first voice fully fading away.  Would you agree that your placement of voices, interchanging and "just right" use of voices in the stereo image and dimension, brings a synergistic effect so much greater than the sum of the wonderful parts?

It's displayed so uniquely on Sunflower and Surfs Up.  I don't think it EVER had been done like this before.  Or since. Your use of voice and sound dimension and "voice as instrument". Your utilization of the various Beach Boy voices, quite a blend, taking harmony and blending the voices almost like a live dynamic spontaneous interaction of "relationships" and "story telling" playing out before the astounded and deeply affected listener.  As though each of the voices are stepping up one at a time to the microphone while simultaneously providing back up harmony and accompaniment to the voice that has just been featured.  Not as reedy and thin as some of the work of the earlier Beach Boys mixes and use of voice.  More full dimensional.  The voices sound full bodied, fully realized, deeper at times, with more character and meaning attached to each voice.  As though you helped each of the Beach Boys "Find their Own Voice".  Which creates some wonderful sound "colors" and adds authenticity and meaning to the total listening experience.  "The Voice as an Instrument."  But in the case of your work with the Beach Boys, "Voices as Instruments ".  Like a Great String Quartet.  With accompanying instrumentation and lyrics to match the vocal work.

The Beach Boys became very real, emotionally authentic, transparent, and courageous in their work with you.  Brian Wilson started it with Pet Sounds (the way the music matched the lyrics which matched his emotions and his personal experiences being shared) but this dynamic and awesome dimension of the Beach Boys' work fully blossomed with Sunflower and Surfs Up.  How does it feel to know that you were the Chief Engineer, Mixer, and Vocal Arranger for the Beach Boys during the peak of their artistry?  How did you learn to utilize microphone placement, spatial dimension, and melody so well, along with drawing out pure emotional performances for these albums from these one of a kind artists?  Where the Music Matches The Emotion of the Lyrics and the Engineering and Mix fully compliment the Art Being Created?

It's Labor Day, I hope you are enjoying the fruits of your labor.   Thank you for your gift to the world via your exemplary work on the Sunflower and Surfs Up albums.  You can rest assured that you played a major role in utilizing, and bringing out the best, in ALL of the Beach Boys.  A Band Singing and Playing so well together.  A Cohesive Unit at One with The Music.  A Total Team Effort.  THAT'S what I hear coming together on Sunflower and Surfs Up.  I believe you deserve a lot of credit for this, Mr. Desper.  You helped create Major Artistic works of Integrity and Wholeness.  That Resonate with anyone who has a Head, Heart, and Soul.  And a Love of Beauty and Creation.   

[Micha]

I had no idea Brian played bass on Susie Cincinatti!

If you have the 15BO LP, just look at the credits...

Mr. Desper, it is an absolute joy to listen to and read the information in your study videos! I'm very thankful for that. Especially for elaborating on the "Sunflower rejects" because those are some of my favorite BB recordings, even more so than some of the released album. BTW, I was born the day "Tears In The Morning" was recorded (not that that had any significance ).

[wantsomecorn]

Mr. Desper, sorry if the question has already been asked, but does your book go beyond the Surf's Up era? It would be very interesting to hear about your experiences engineering the various other projects the band embarked on that you participated in, like Dennis' solo stuff, Spring, or even Keepin' the Summer Alive.

[CenturyDeprived]

Simply fantastic stuff, Stephen. Really enjoying The Contender Songs study video. Your passion for the music is felt deeply in the personal recollections that appear as text in the videos, and there are treats aplenty for the listeners' ears. Sincere thanks for these videos, we all super appreciate them, and they are very important documentation.

[c-man]

Mr. Desper, sorry if the question has already been asked, but does your book go beyond the Surf's Up era? It would be very interesting to hear about your experiences engineering the various other projects the band embarked on that you participated in, like Dennis' solo stuff, Spring, or even Keepin' the Summer Alive.

And a study video on the Desper-engineered early version of "Sail On Sailor" would be great.

[silodweller]

Hello there Stephen,

I wanted to write to say how much I've been enjoying your study videos, especially the ones concerning the recording of "Sunflower".  The album has been a favourite of mine for many years. 
To hear the needle drop section of your study video is really quite something.  I don't think I've ever heard the album sound as beautiful as that. 
My introduction to the music of The Beach Boys came when I was in my early teens (at which point I was already a die-hard Beatles fan) when I was digging through my Dad's collection of vinyl.  He had bought a mono copy of "Pet Sounds" when it was released in 1966.  That was the way I first heard it and it was an experience I obviously won't ever forget.  Through the years I've bought the various releases that have been forthcoming, including other editions of "Pet Sounds" but I have to say, I will often go back to the original vinyl and it will bring out an entirely different set of emotions.  Perhaps it has something to do with memories, I'm not sure. 
I have never really believed in the remastering thing, myself and am always slightly disheartened when I listen to what is considered worthy of a release these days.  The box set which came out in 2013 had some nice things on it but otherwise I found myself skipping tracks, cringing and even becoming upset by what I was hearing.  I don't have a shoddy Hi-Fi so I figure it can't be my system but honestly, I can't understand why there is this constant tampering with The Beach Boys' catalog.  I find it terribly hypocritical too to splash comments in booklets provided with these releases about what an amazing producer Brian Wilson was when all these people are doing is destroying the original intent of each track.  Perhaps I will stand alone in my opinions on this matter but I wish the catalog of such wonderfully uplifting and beautiful music would at last be put into the hands of someone who is more interested in maintaining the integrity of the music as it was recorded back in the day (perhaps someone as musically and sonically discerning as yourself).  After all, isn't that why we fell in love with this music in the first place? 
Again, I thank you for all your effort in presenting the music to us in the way it was meant to be heard (or as close as dammit!) and I hope for many more hours of your study videos. 

[Stephen W. Desper]

Thank you so much, Stephen!  It means a lot to me that you would take the time to put all of this together to give us fans such a gift.  However, I've noticed that the "Cool, Cool Water" link is no longer working...and that Study Video is my absolute favorite!  Do you happen to know when that will be up again?

COMMENT:  As per your question,  I have fixed all the buttons. You can link to all study-videos now.  Thanks again for the heads-up on this problem.   

Buttons currently linking to study-videos are about:

Breakaway
Cabinessence
Cool, Cool, Water
God Only Knows
Heroes and Villains
Recording The Beach Boys (part one)
Recording The Beach Boys (part one - addendum)
Vega-Tables

http://swdstudyvideos.com

Did You Know?    You can go directly to page three if, while viewing page three, you store it to your "favorites" folder.

~swd

[Stephen W. Desper]

Mr. Desper, sorry if the question has already been asked, but does your book go beyond the Surf's Up era? It would be very interesting to hear about your experiences engineering the various other projects the band embarked on that you participated in, like Dennis' solo stuff, Spring, or even Keepin' the Summer Alive.

COMMENT:  In the works, as my time permits.  ~swd

[Stephen W. Desper]

Mr. Desper, sorry if the question has already been asked, but does your book go beyond the Surf's Up era? It would be very interesting to hear about your experiences engineering the various other projects the band embarked on that you participated in, like Dennis' solo stuff, Spring, or even Keepin' the Summer Alive.

And a study video on the Desper-engineered early version of "Sail On Sailor" would be great.

COMMENT:  In the works, as my time permits.  ~swd

[Stephen W. Desper]

COMMENT:  I am overwhelmed and humbled by the many and sometimes lengthy words of gratitude and praise from all of my fellow fans. I treasure all your comments. I especially like to read of your listening experiences assuring me that you “get it.” 

What is so tragic is that the technology producing what you hear on these Study-Videos had been tested and was available almost fifty years ago – longer than many of you have been alive. It was cutting-edge back then, and in a way, still is. For if the record companies choose to keep releasing music based on old technology, it is their prerogative. Offering new pressings of heavier vinyl or higher digital resolution doesn’t come close to the step forward that is missing from these offerings because even the new batch of re-issues are all based on the original and old unresolved master formats.

What makes me happy is knowing that, for those who care, and for those who enjoy the Beach Boy sound in its fullest sonic envelopment, will finally be able to experience the sounds, despite the bad habits of the record companies. I means, my work and advancements, i.e. original intentions, will not go in vain.

With Good Listening, ~Stephen W. Desper

http://swdstudyvideos.com 

[Alan Smith]

THE CONTENDER SONGS

Appreciate any comments you may leave here and I would especially like to hear of your listening experiences, in particular those who have their computers connected to a good sound system or stereo system.  I’m curious to hear if your perception of the sound was different than you were use to hearing. I would also some feedback about the presentation, especially the book part of part one, and if it was reasonably convenient to manipulate?
[/size]
Recording The Beach Boys,  part one – Addendum; with ten Contender Songs is available at the push of a button on my website.  The Contender Songs are Susie Cincinnati, Good Time, When Girls Get Together, Lady, Loop De Loop, Carnival, I Just Got My Pay, San Miguel, H.E.L.P. Is On the Way, Big Sur

Hi Stephen and Mike,

Many thanks and more for another amazing, and for me, unexpected study video - I'm still blown away by the Recording, pt 1, but was thrilled to bits seeing a study video for the contenders.

While I've heard these songs many times, having the opportunity to hear needles drops from a rare disk played on SD's rig not only breathes new life and appreciation into these tunes (both the Sunflower and the contender tracks), but really lifts the songs to the level they should have been presented all along.

I'm a big Al fan and he was really kickin' some butt around this time (weren't they all), especially off the back of his excellent Cotton Fields.

Most enjoyable was Stephen pulling back the curtain re the pulsing "Loop de Loop" aeroplane engine - hearing via my humble kit
fluted air of the rich mixture drawn through the plane’s mechanical throat, was the last thing I thought I'd be doing on a rainy Thursday.

In relation to sound perception, I find the sense of room space (I can easily visualise corners of a cube, and position each instrument within this dimension) exceeds the other mixes I’ve heard - while the recent Capitol vinyl reissue, provided great instrumental separation, each instrument/sound is a lot more distinct and easy to tune into/focus attention upon.

I perceive the vocals a little more traditionally left to right (but beyond the speakers) and don’t “hear” voices at the front of or behind the image as easily.  This may be me and something I’ll adapt to in time.  However, like the instruments, the vocal separation is amazing and I can hear more Mike or Mike-esque bass lines in the mix than on other presentations.

IMO, I think while the contender tracks are great, there is a sonic consistency missing that I think made it to the Sunflower album - it’s hard to explain, but listening to the first clutch of contenders, the “sound" seems quite distinct from track to track, and I can only wonder if that’s something that confronted Mo Ostin et al on first listen - assuming anyone other than I can hear what I mean.

Things look great presentation wise and the written content certainly moves at a fast clip!

Keep it coming, and if there’s ever any small thing a guy can do to help, just holler - cheers - A

[DRM]

When I listen to Sunflower and Surfs Up via headphones, the imaging, vocal positioning, and separation...is more INSIDE my head...but still very real and "3 D"/dimensional.  On another subject, "All This Is That" from Carl and The Passions sounds similar in mixing and engineering to the songs on Sunflower and Surfs Up.  A great vocal song that sounds inspired and influenced by Mr. Stephen W. Desper.   "Wonderful" from Smiley Smile seems to employ a similar approach to the vocals.  I love recordings where the vocals are "up front"...and "directly connected" to the listener...with little space between the vocals and the listener.  Not highly compressed at all, it's not a compression issue...but recorded so that there's a "direct sound experience" and a "lack of a gap" between the vocals and the listener. Close and Up Front. With headphones, that's a space either right in front of my eyes or right behind.  Close and Intimate and not hidden in the background.  Vocals not mixed in with other sounds, at least not up front, sound that's not full of sound gimmicks...and not cluttered with "busyness".  The vocals are "exposed" and the vocalist is "vulnerable"...not hiding who he is and what he's feeling.  ESPECIALLY when I know the vocalists I've chosen to listen to and be "actively engaged and interactive" with...vs. being caught off guard by some vocals I don't want to get too close to.  I'm not sure if this is allowed, but since this website is devoted to genius, the following is a meeting between George Martin and Brian Wilson:
https://www.youtube.com/watch?v=CnVyCuc9_P8   It was just announced today, 9-29-15, that Brian Wilson and Al Jardine are coming to North Florida in early December.  Maybe Mr. Stephen W. Desper could be utilized to record and mix the concert, arranging and placing the microphones in his expert manner...for a special Christmas offering.  I'd buy it, especially if it was on cassette.  Or via sale of the multi-tracks, to create original mixes as the listener so chooses.  (Added note on 10-4-15 in the afternoon, North Florida Standard Time:  I got this idea right from the source of so many brilliant Beach Boys' Recordings:  From Stephen W. Desper's educational video, detailing how multi-tracks could be sold for creative mixing by the purchaser/listener/soon to be mixer of the Beach Boys.)

[NateRuvin]

When I listen to Sunflower and Surfs Up via headphones, the imaging, vocal positioning, and separation...is more INSIDE my head...but still very real and "3 D"/dimensional.  On another subject, "All This Is That" from Carl and The Passions sounds similar in mixing and engineering to the songs on Sunflower and Surfs Up.  A great vocal song that sounds inspired and influenced by Mr. Stephen W. Desper.   "Wonderful" from Smiley Smile seems to employ a similar approach to the vocals.  I love recordings where the vocals are "up front"...and "directly connected" to the listener...with little space between the vocals and the listener.  Not highly compressed at all, it's not a compression issue...but recorded so that there's a "direct sound experience" and a "lack of a gap" between the vocals and the listener. Close and Up Front. With headphones, that's a space either right in front of my eyes or right behind.  Close and Intimate and not hidden in the background.  Vocals not mixed in with other sounds, at least not up front, sound that's not full of sound gimmicks...and not cluttered with "busyness".  The vocals are "exposed" and the vocalist is "vulnerable"...not hiding who he is and what he's feeling.  ESPECIALLY when I know the vocalists I've chosen to listen to and be "actively engaged and interactive" with...vs. being caught off guard by some vocals I don't want to get too close to.  I'm not sure if this is allowed, but since this website is devoted to genius, the following is a meeting between George Martin and Brian Wilson:
https://www.youtube.com/watch?v=CnVyCuc9_P8   It was just announced today, 9-29-15, that Brian Wilson and Al Jardine are coming to North Florida in early December.  Maybe Mr. Stephen W. Desper could be utilized to record and mix the concert, arranging and placing the microphones in his expert manner...for a special Christmas offering.  I'd buy it, especially if it was on cassette.  Or via sale of the multi-tracks, to create original mixes as the listener so chooses.

That is a brilliant idea.

[DRM]

"...but that's not me..." Mr. Stephen W. Desper details in his educational video, of course, how multi-tracks could be sold for creative mixing by the purchaser/listener/soon to be mixer of the Beach Boys.  Wouldn't it be nice if Mr. Desper recorded an upcoming Brian Wilson and Al Jardine concert? "Two words, my son, as you venture out into the world as a New Graduate:  "Microphone Placement".

[silodweller]

Hello there,

I don't know if this has been asked before but I'm willing to post this question anyway.  "Busy Doin' Nothin'" has always been a favourite of mine, from the sound of Brian's voice, the instrumentation (is that an Electra Piano or Rocksichord playing along with the guitar?) and the great chord changes.  Also, upon first hearing the track I heard what sounds a lot like a vocal humming during the verses (the second verse has a humming in a higher register too) but sort of goes off key as it moves downwards on the scale.  It's pretty buried in the mix but I've always wondered what it might be.  Was it Brian simply humming along or was it another instrument?  Like I mentioned earlier, the reason I felt it was humming is because it goes slightly off key in places.  Deliberately, I would imagine. 

Kind regards

[Stephen W. Desper]

"...but that's not me..." Mr. Stephen W. Desper details in his educational video, of course, how multi-tracks could be sold for creative mixing by the purchaser/listener/soon to be mixer of the Beach Boys.  Wouldn't it be nice if Mr. Desper recorded an upcoming Brian Wilson and Al Jardine concert? "Two words, my son, as you venture out into the world as a New Graduate:  "Microphone Placement".

COMMENT    in todays technical climate, why not record each of the sound system microphones on a separate track, along with room mics, and offer $$ as a download for those interested in pulling their own mix. "Be a house mixer at home."  Walk around the stage, sonically during the performance. Study each voice and guitar for technique. Sweeten with your own tracks.

That's what I would do. ~swd