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Author Topic: TWGMTR Now Officially Loaded On YouTube  (Read 17004 times)
SMiLE Brian
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« Reply #50 on: April 23, 2012, 01:05:18 PM »

Man, still floored by those bits of Bruce vocals.
His vocals are great, his voice is almost used the way  it was in BBs songs in 1965-1966.
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And production aside, I’d so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #51 on: April 23, 2012, 01:42:43 PM »

It's grown on me since my first listen, but a couple things jump out:

1) It has the same kind of 1950s vibe to it that much of their "sunset years" output has had, IMHO, especially That Lucky Old Sun. I think I know why-- the music of the 1950s was what they were raised on. When you get old, you get sentimental (somebody else said as much on this board recently). However, for me, I don't care for it. I like boundary-pushing rock and roll, which is what attracted me to the BBs in the first place. I understand that the Beach Boys aren't going to be releasing synth-full, weird productions, or dubstep, or rap (again), or whatever. But I would simply prefer a sound more rooted in the rock and roll movement they helped pioneer in the 1960s. Not mimicry, but a continuation. Nevertheless, I can't blame them for making the music they want to make at this point in their lives. God knows they've earned that right.

2) There is A LOT of auto-tune on this track, and it makes me a little nauseous. I was worried after the Do It Again remake, in which Foskett's voice sounded super-treated. His falsetto is again, in the TWGMR promo, very auto-tuned, but this time the backing vocals also seem to have a lot of auto-tune trickery. Way too much. Way too noticeable. I bet it could have been done in a more subtle manner. Then again, I'm not an engineer, or even familiar with auto-tune tech at all. Just my (ever so) humble opinion.

No matter what, I will buy this album the first day it's available and I will listen to it non-stop for at least a month. And I will, doubtless, enjoy every bit of it. Except the auto-tune...
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« Reply #52 on: April 23, 2012, 01:49:33 PM »


2) There is A LOT of auto-tune on this track, and it makes me a little nauseous. I was worried after the Do It Again remake, in which Foskett's voice sounded super-treated. His falsetto is again, in the TWGMR promo, very auto-tuned, but this time the backing vocals also seem to have a lot of auto-tune trickery. Way too much. Way too noticeable. I bet it could have been done in a more subtle manner. Then again, I'm not an engineer, or even familiar with auto-tune tech at all. Just my (ever so) humble opinion.

Absolutely could have.
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« Reply #53 on: April 23, 2012, 02:07:05 PM »


2) There is A LOT of auto-tune on this track, and it makes me a little nauseous. I was worried after the Do It Again remake, in which Foskett's voice sounded super-treated. His falsetto is again, in the TWGMR promo, very auto-tuned, but this time the backing vocals also seem to have a lot of auto-tune trickery. Way too much. Way too noticeable. I bet it could have been done in a more subtle manner. Then again, I'm not an engineer, or even familiar with auto-tune tech at all. Just my (ever so) humble opinion.

Absolutely could have.

Yes, interesting that folks haven't been talking about this. But the vocal stack is noticeably treated. Each voice in the stack is tuned.

That being said, it's nowhere near as bad as mainstream pop, where a full-on robot effect is expected on any big single, so perhaps we should count our blessings.
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« Reply #54 on: April 23, 2012, 02:10:46 PM »


2) There is A LOT of auto-tune on this track, and it makes me a little nauseous. I was worried after the Do It Again remake, in which Foskett's voice sounded super-treated. His falsetto is again, in the TWGMR promo, very auto-tuned, but this time the backing vocals also seem to have a lot of auto-tune trickery. Way too much. Way too noticeable. I bet it could have been done in a more subtle manner. Then again, I'm not an engineer, or even familiar with auto-tune tech at all. Just my (ever so) humble opinion.

Absolutely could have.

Yessirree!
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« Reply #55 on: April 23, 2012, 02:46:58 PM »


2) There is A LOT of auto-tune on this track, and it makes me a little nauseous. I was worried after the Do It Again remake, in which Foskett's voice sounded super-treated. His falsetto is again, in the TWGMR promo, very auto-tuned, but this time the backing vocals also seem to have a lot of auto-tune trickery. Way too much. Way too noticeable. I bet it could have been done in a more subtle manner. Then again, I'm not an engineer, or even familiar with auto-tune tech at all. Just my (ever so) humble opinion.

Absolutely could have.

Yes, interesting that folks haven't been talking about this. But the vocal stack is noticeably treated. Each voice in the stack is tuned.

That being said, it's nowhere near as bad as mainstream pop, where a full-on robot effect is expected on any big single, so perhaps we should count our blessings.

Well, double tracking was the autotune of its day.

And if Brian had had autotune in 1966, you can bet he would have used it to achieve that elusive perfection he heard in his head.

Standard practice now, I'm afraid, especially for 5 aging guys who can't hold a tune like they once could. They've been using it on Brian for years.

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« Reply #56 on: April 23, 2012, 02:53:51 PM »

Not every form of pitch correction you hear is autotune.
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« Reply #57 on: April 23, 2012, 02:58:10 PM »

And not every vacuum cleaner is made by Hoover. But it's the word everyone uses.
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Jimmie_R
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« Reply #58 on: April 23, 2012, 03:04:36 PM »

Not every form of pitch correction you hear is autotune.

SO true. And what a nice Supernatural avatar btw Wink
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runnersdialzero
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« Reply #59 on: April 23, 2012, 03:12:01 PM »

Pitch correction is one thing. Lazily applying a filter over the entire vocal (not just the parts that need work) and setting it to just shy of said "robotic" sound is something entirely different.
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« Reply #60 on: April 23, 2012, 03:14:25 PM »

Yeah, thanks, that's what I was getting at.

@Jimmie_R: Thanks. Don't fear the reaper!
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« Reply #61 on: April 23, 2012, 03:16:46 PM »

Pitch correction is one thing. Lazily applying a filter over the entire vocal (not just the parts that need work) and setting it to just shy of said "robotic" sound is something entirely different.

It's an addictive tool. You open it up with the best of intentions. "I'll just nudge the ones that are really out", you say to yourself. Before you know it, you've gone through the whole damn vocal line, and guess what, you do believe in life after love!
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Ron
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« Reply #62 on: April 23, 2012, 03:52:49 PM »

You guys are starting to slip, you waited 3 or 4 days before you started bitching about Autotune. 

AND YOU CALL YOURSELF SNOBS?  On whatever the next song is, hopefully we can start telling everybody how we're better at pro-tools the first day the track leaks. 
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runnersdialzero
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« Reply #63 on: April 23, 2012, 04:15:54 PM »

You guys are starting to slip, you waited 3 or 4 days before you started bitching about Autotune. 

AND YOU CALL YOURSELF SNOBS?  On whatever the next song is, hopefully we can start telling everybody how we're better at pro-tools the first day the track leaks. 

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« Reply #64 on: April 23, 2012, 04:45:08 PM »

Pitch correction is one thing. Lazily applying a filter over the entire vocal (not just the parts that need work) and setting it to just shy of said "robotic" sound is something entirely different.
It didn't sound as bad on here as it did on "Do It Again," so there is hope. Pitch correction can really change the timbre of a singer's voice, so I am wishing for the bare minimum on this album.
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« Reply #65 on: April 23, 2012, 04:52:02 PM »


awwwwwwwwwwww.......

it's gosh darn GORGEOUS!!!!!
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« Reply #66 on: April 23, 2012, 05:19:05 PM »


awwwwwwwwwwww.......

it's gosh darn GORGEOUS!!!!!

It is, heysaboda. But I can hear the pitch correction. Can you, Ron? It is tough to ignore (I can't, at least). It pulls me out of the magic. I want unadulterated magic, which the Boys have in spades. And it makes me sad. I'm not criticising. I understand. But it pulls me out of the moment. Double tracking doesn't do that.

I do home recording, and my voice SUCKS. But I can get something serviceable... Listenable... After 40 takes. But I'm still youngish. Might they need help at their age? Sure. I understand. But the pitch correction is too obvious. It needs to be dialed down.

Isn't there a way to find a new blend? A different sound that, while not retro, is still beautiful?
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runnersdialzero
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« Reply #67 on: April 23, 2012, 05:21:02 PM »


But I can hear the pitch correction.

I can hear autotune
Sweet, sweet autotune
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« Reply #68 on: April 23, 2012, 05:56:23 PM »

Can't rate the autotune on this new stuff yet. I don't think it works to just be a total naysayer. At the same time, not everybody that had disdain for autotune is some stuffy, snobby wannabe music critic.

For me, as I've opined before, autotune is so overused that we've kind of lost the "musical integrity" battle. So my issue is that the autotune just sounds annoying when overused. It can be used relatively lightly and effectively. But listen to the new Wilson Phillips album to hear what happens when you just turn autotune (or its various equivalent software plugins) to 11 and leave the room for the entire song.

It doesn't sound like the new BB stuff is awash in the autotune to that degree at least.

The whole "Brian would have used autotune in '66 if he had it" debate is a perilous one to even get into, but I personally don't think he would have used it, because everybody could sing and autotune changes the tone and timbre of voices; it doesn't just "correct" flat and sharp notes. I don't think he would have wanted all the "Pet Sounds" vocals to sound nearly like a vocoder or Frampton's talk box.
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« Reply #69 on: April 23, 2012, 06:41:14 PM »

The whole "Brian would have used autotune in '66 if he had it" debate is a perilous one to even get into, but I personally don't think he would have used it, because everybody could sing and autotune changes the tone and timbre of voices; it doesn't just "correct" flat and sharp notes. I don't think he would have wanted all the "Pet Sounds" vocals to sound nearly like a vocoder or Frampton's talk box.

There are levels of pitch correction, some extreme and some not so much. It does not necessarily alter tone or timbre, nor is it always detectable.

For that matter, Brian was eager to explore strange vocal effects in the 60s -- speeding up backing vox for example -- and he did use an early version of pitch correction on BW88. So of course he would have done something with it. Just perhaps in a more creative way.
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« Reply #70 on: April 23, 2012, 06:43:21 PM »

The whole "Brian would have used autotune in '66 if he had it" debate is a perilous one to even get into, but I personally don't think he would have used it, because everybody could sing and autotune changes the tone and timbre of voices; it doesn't just "correct" flat and sharp notes. I don't think he would have wanted all the "Pet Sounds" vocals to sound nearly like a vocoder or Frampton's talk box.

There are levels of pitch correction, some extreme and some not so much. It does not necessarily alter tone or timbre, nor is it always detectable.

For that matter, Brian was eager to explore strange vocal effects in the 60s -- speeding up backing vox for example -- and he did use an early version of pitch correction on BW88. So of course he would have done something with it. Just perhaps in a more creative way.

Not to mention the amount of cut and paste they used in the past... A chorus instead of being sung twice or thrice is recorded just once and copied as many times as needed.
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« Reply #71 on: April 23, 2012, 07:08:53 PM »


awwwwwwwwwwww.......

it's gosh darn GORGEOUS!!!!!

It is, heysaboda. But I can hear the pitch correction. Can you, Ron? It is tough to ignore (I can't, at least). It pulls me out of the magic. I want unadulterated magic, which the Boys have in spades. And it makes me sad. I'm not criticising. I understand. But it pulls me out of the moment. Double tracking doesn't do that.

I do home recording, and my voice SUCKS. But I can get something serviceable... Listenable... After 40 takes. But I'm still youngish. Might they need help at their age? Sure. I understand. But the pitch correction is too obvious. It needs to be dialed down.

Isn't there a way to find a new blend? A different sound that, while not retro, is still beautiful?

We get it: You're better at singing, and engineering with protools that you illegally downloaded off the internet, than they are.  Really we're just being charitable with them since they're so old.  Of course they suck.  BTW when's your tour? Smiley

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« Reply #72 on: April 23, 2012, 07:14:55 PM »

Other things we should bitch about:

Recording the music instead of only doing it live

Amplifying the music, because hell nobody sounds like that.  Fill an entire arena?  Speakers?  WHAT THE f***

Double Tracking

Triple Tracking

Wall of Brian = 50 tracking

Reverb

That damn surf thing they do on the guitars

Sending us digital cd's instead of analog vinyl which was recorded live, 1 take, over and over again.  Anything less is just a bunch of 1's and 0's.

Letting dead people be on the album.  Tisk Tisk.  that's REALLY unnatural.  Dead people can't sing.

Smiling so much on the promo pictures.  Nobody smiles that much. 

All of them wearing brand new clothes in the promo pictures.  Nobody wears clothes 1 time then throws them away except for those women on the Real Housewives of New Jersey.

Their insistance on taking pictures of just the 5 or 6 guys they say are in the band, when we know damn good and well there's a 17 piece band and bus drivers to get them everywhere.  How come the bus drivers never get acknowledged?  Brian would be lost 5 minutes after he left the hotel if there were no bus driver!  All of Mike's cars are so old they'd break down on the highway if he pushed his little 'deuce coupe over about 45. 

I'm just sick of all the fakeness.  Not just the autotune.  All of it!
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« Reply #73 on: April 23, 2012, 07:15:22 PM »

And Ron, we get it, BRI is paying you to not rock the boat. People can have fucking opinions. Don't just dismiss them because you don't agree.
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« Reply #74 on: April 23, 2012, 07:23:03 PM »

And Ron, we get it, BRI is paying you to not rock the boat. People can have f*cking opinions. Don't just dismiss them because you don't agree.

Look, it's not just a matter of having and voicing an opinion. It's a matter of reasonably supporting it.

And for a while now, the autotune thing has become a topic for fans that pretend to know better than the Beach Boys. It got tiresome.
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