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Author Topic: Sunset Sound sessions ?  (Read 20389 times)
DonnyL
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« on: September 12, 2012, 08:27:02 PM »

Does anyone (C-Man?) have a list of the known sessions the group recorded at Sunset Sound ?
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c-man
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« Reply #1 on: September 13, 2012, 08:41:08 AM »

Sure...can't say it's complete, but here goes:

Jun. 16, 1964 - Sunset Sound: MONKEY'S UNCLE
Mar. 11, 1966 - Sunset Sound: PET SOUNDS (aka HERE TODAY)
May 24, 1966 - Sunset Sound: GOOD VIBRATIONS
May 25, 1966 - Sunset Sound: GOOD VIBRATIONS (sweetening)
Aug. 24, 1966 - Sunset Sound: GOOD VIBRATIONS (editing)
Dec. 2, 1968 - Sunset Sound: COME TO ME (Murry Wilson/The Honeys)
Jan. 13, 1969 - Sunset Sound: SAN MIGUEL
Jan. 24, 1969 - Sunset Sound: SAN MIGUEL
Jan. 27, 1969 - Sunset Sound: SAN MIGUEL
Feb. 13, 1969 - Sunset Sound: I GOT TO KNOW THE WOMAN
Feb. 14, 1969 - Sunset Sound: I GOT TO KNOW THE WOMAN (female background vocals)
Feb. 24, 1969 - Sunset Sound: CELEBRATE THE NEWS
Feb. 24, 1969 - Sunset Sound: CELEBRATE THE NEWS (strings)
Feb. 25, 1969 - Sunset Sound: CELEBRATE THE NEWS (flute)
Mar. 3, 1969 - Sunset Sound: CELEBRATE THE NEWS (Moog)
Mar. 11, 1969 - Sunset Sound: LOOP-DE-LOOP FLIP FLOP FLYING IN AN AIRPLANE (more horns)
Aug. 15, 1969 - Sunset Sound: COTTON FIELDS (45 version)
Aug. 29, 1969 - Sunset Sound: SOULFUL OLD MAN SUNSHINE
Sep. 5, 1969 - Sunset Sound: SOULFUL OLD MAN SUNSHINE (sweetening)
June 18, 1971 - Sunset Sound: SURF'S UP (new, unused track)
June 29, 1971 - Sunset Sound: WON'T YOU TELL ME (Rick Henn)
Apr. 18, 1972 - Sunset Sound: WHAT I FEEL (aka MAKE IT GOOD) (horns)
Sep. 8, 1987 - Sunset Sound: BABY LET YOUR HAIR GROW LONG, MELT AWAY (saw, violin) (Brian Wilson)
Jun. 17, 1989 - Sunset Sound: IN MY CAR (drums) (Beach Boys, Brian Wilson)
Jun. 18, 1989 - Sunset Sound: IN MY CAR (guitar) (Beach Boys, Brian Wilson)
Dec. 2003 - Jan. 2004 - Sunset Sound: A FRIEND LIKE YOU (mixing) (Brian Wilson)
Apr. 13, 2004 - Sunset Sound: HEROES & VILLAINS, ROLL PLYMOUTH ROCK, SONG FOR CHILDREN, ON A HOLIDAY (Brian Wilson)
Apr. 13, 2004 - Sunset Sound: HEROES & VILLAINS, ROLL PLYMOUTH ROCK (Brian Wilson, Stockholm Strings & Horns)
Apr. 14, 2004 - Sunset Sound: GOOD VIBRATIONS, MRS. O'LEARY'S COW, BARNYARD, WIND CHIMES, VEGETABLES (Brian Wilson)
Apr. 14, 2004 - Sunset Sound: GOOD VIBRATIONS, MRS. O'LEARY'S COW, BARNYARD (Brian Wilson, Stockholm Strings & Horns)
Apr. 15, 2004 - Sunset Sound: OLD MASTER PAINTER/SUNSHINE, CABIN ESSENCE, OUR PRAYER/GEE, WONDERFUL
Apr. 15, 2004 - Sunset Sound: CABIN ESSENCE, WONDERFUL (Brian Wilson, Stockholm Strings & Horns)
Apr. 16, 2004 - Sunset Sound: SURF'S UP, IN BLUE HAWAII, I'M IN GREAT SHAPE/I WANNA BE AROUND/WORKSHOP, CHILD IS FATHER OF THE MAN (Brian Wilson)
Apri. 16, 2004 - Sunset Sound: CHILD IS FATHER OF THE MAN (Brian Wilson, Stockholm Strings & Horns)
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guitarfool2002
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« Reply #2 on: September 13, 2012, 08:46:27 AM »

Great info!

One thing stuck out...all of those sessions in 1969, is there a reason why after Brian's home studio was up and running at full capacity, that they'd decide to book time at a commercial studio instead, and do it that often as it looks from the timeline? I'm going on information that around the time of "Friends", Brian's home studio was complete and fully "stocked" enough to compete with some commercial studios...so why book elsewhere if they got what they wanted (finally) at the house?
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c-man
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« Reply #3 on: September 13, 2012, 08:59:37 AM »

Great info!

One thing stuck out...all of those sessions in 1969, is there a reason why after Brian's home studio was up and running at full capacity, that they'd decide to book time at a commercial studio instead, and do it that often as it looks from the timeline? I'm going on information that around the time of "Friends", Brian's home studio was complete and fully "stocked" enough to compete with some commercial studios...so why book elsewhere if they got what they wanted (finally) at the house?

Good question, but until the second half of the "Sunflower" sessons, they really continued to use outside studios a lot:  Wally Heider for some vocals/mixdown/editing on "Smiley Smile" and "Wild Honey" (and some basic tracks in the latter case),  I.D. sound for about half of "Friends", several studios (Capitol, Heider, I.D. Sound, Valentine) for "20/20", and Sunset and Gold Star for the "Sunflower" era.  Until they got 16-track at Brian's home studio in late '69.  SO...maybe that's the answer...they needed to bounce between two 8-tracks and only had access to one at Brian's (whether it was leased or owned by the BBs).  When they got the 16-track, that was all they needed.  Suppose?
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guitarfool2002
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« Reply #4 on: September 13, 2012, 09:15:06 AM »

Great info!

One thing stuck out...all of those sessions in 1969, is there a reason why after Brian's home studio was up and running at full capacity, that they'd decide to book time at a commercial studio instead, and do it that often as it looks from the timeline? I'm going on information that around the time of "Friends", Brian's home studio was complete and fully "stocked" enough to compete with some commercial studios...so why book elsewhere if they got what they wanted (finally) at the house?

Good question, but until the second half of the "Sunflower" sessons, they really continued to use outside studios a lot:  Wally Heider for some vocals/mixdown/editing on "Smiley Smile" and "Wild Honey" (and some basic tracks in the latter case),  I.D. sound for about half of "Friends", several studios (Capitol, Heider, I.D. Sound, Valentine) for "20/20", and Sunset and Gold Star for the "Sunflower" era.  Until they got 16-track at Brian's home studio in late '69.  SO...maybe that's the answer...they needed to bounce between two 8-tracks and only had access to one at Brian's (whether it was leased or owned by the BBs).  When they got the 16-track, that was all they needed.  Suppose?

That could be, definitely the 16 track issue could be the factor...has Stephen Desper ever commented on that? Did he engineer the sessions in 1969 which were held outside the home studio?

I know the Smiley and Wild Honey use of outside studios was due more to the fact that Brian's home studio was still very much a patched-together affair, and there was no really permanent installation or setup in place. Then around Friends, it was all but completed, or at least made more "whole" and permanent for that time - and the outsourcing during and after that period is the one which apart from the 16-track issue is still a mystery. They made the studio, they got it set up, designed, and ready to roll, and yet they were still outsourcing more sessions than I think we assumed before seeing the facts actually laid out in a timeline.
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Andrew G. Doe
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« Reply #5 on: September 13, 2012, 09:21:09 AM »

Great info!

One thing stuck out...all of those sessions in 1969, is there a reason why after Brian's home studio was up and running at full capacity, that they'd decide to book time at a commercial studio instead, and do it that often as it looks from the timeline? I'm going on information that around the time of "Friends", Brian's home studio was complete and fully "stocked" enough to compete with some commercial studios...so why book elsewhere if they got what they wanted (finally) at the house?

Good question, but until the second half of the "Sunflower" sessons, they really continued to use outside studios a lot:  Wally Heider for some vocals/mixdown/editing on "Smiley Smile" and "Wild Honey" (and some basic tracks in the latter case),  I.D. sound for about half of "Friends", several studios (Capitol, Heider, I.D. Sound, Valentine) for "20/20", and Sunset and Gold Star for the "Sunflower" era.  Until they got 16-track at Brian's home studio in late '69.  SO...maybe that's the answer...they needed to bounce between two 8-tracks and only had access to one at Brian's (whether it was leased or owned by the BBs).  When they got the 16-track, that was all they needed.  Suppose?

The first documented use of the home 16-track was on October 13th 1969: transfers from 8- to 16-track. It's in 10452. Known uses of Sunset Sound ditto. There's a few C-Man doesn't mention, like "I'm Going Your Way", 7/14/69. Which is odd, as he supplied me with a lot of that info !
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DonnyL
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« Reply #6 on: September 13, 2012, 09:21:33 AM »

WOW!  I was primarily interested in the '67-'69 era, but you gave it all! I appreciate it very much.

So 'Tune X' or any of the late SMiLE sessions were not recorded there? And no portions of "Break Away"? For some reason, I though more '20/20' material was cut there (like 'Be With Me'), but I may be confusing it with I.D. Sound or something else.
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« Reply #7 on: September 13, 2012, 10:08:39 AM »

WOW!  I was primarily interested in the '67-'69 era, but you gave it all! I appreciate it very much.

So 'Tune X' or any of the late SMiLE sessions were not recorded there? And no portions of "Break Away"? For some reason, I though more '20/20' material was cut there (like 'Be With Me'), but I may be confusing it with I.D. Sound or something else.


"Be With Me" was tracked at Bellagio, according to the AFM sheet, although the liner notes for "Hawthorne, CA" credit Capitol Studio B.  "Break Away" was tracked at I.D. Sound, with vocals apparently added at Gold Star (and possibly Bellagio as well). 
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c-man
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« Reply #8 on: September 13, 2012, 10:11:29 AM »

Great info!

One thing stuck out...all of those sessions in 1969, is there a reason why after Brian's home studio was up and running at full capacity, that they'd decide to book time at a commercial studio instead, and do it that often as it looks from the timeline? I'm going on information that around the time of "Friends", Brian's home studio was complete and fully "stocked" enough to compete with some commercial studios...so why book elsewhere if they got what they wanted (finally) at the house?

Good question, but until the second half of the "Sunflower" sessons, they really continued to use outside studios a lot:  Wally Heider for some vocals/mixdown/editing on "Smiley Smile" and "Wild Honey" (and some basic tracks in the latter case),  I.D. sound for about half of "Friends", several studios (Capitol, Heider, I.D. Sound, Valentine) for "20/20", and Sunset and Gold Star for the "Sunflower" era.  Until they got 16-track at Brian's home studio in late '69.  SO...maybe that's the answer...they needed to bounce between two 8-tracks and only had access to one at Brian's (whether it was leased or owned by the BBs).  When they got the 16-track, that was all they needed.  Suppose?

The first documented use of the home 16-track was on October 13th 1969: transfers from 8- to 16-track. It's in 10452. Known uses of Sunset Sound ditto. There's a few C-Man doesn't mention, like "I'm Going Your Way", 7/14/69. Which is odd, as he supplied me with a lot of that info !

Yeah, I got the info about "I'm Going Your Way"/Sunset from Alan Boyd's observation of tape box & track sheet notation, rather than AFM contracts, which is where most of my list above comes from.
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DonnyL
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« Reply #9 on: September 13, 2012, 11:13:42 AM »

WOW!  I was primarily interested in the '67-'69 era, but you gave it all! I appreciate it very much.

So 'Tune X' or any of the late SMiLE sessions were not recorded there? And no portions of "Break Away"? For some reason, I though more '20/20' material was cut there (like 'Be With Me'), but I may be confusing it with I.D. Sound or something else.


"Be With Me" was tracked at Bellagio, according to the AFM sheet, although the liner notes for "Hawthorne, CA" credit Capitol Studio B.  "Break Away" was tracked at I.D. Sound, with vocals apparently added at Gold Star (and possibly Bellagio as well). 

thanks again for all the help.
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« Reply #10 on: September 13, 2012, 11:32:32 AM »

Thought I remember reading Steve Desper (or somebody) saying that Murry was up at the Bellagio studio for at least one Break Away session. I think a vocal one. In fact, didn't Murry sing on one of the takes too?
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« Reply #11 on: September 13, 2012, 11:35:40 AM »

Thought I remember reading Steve Desper (or somebody) saying that Murry was up at the Bellagio studio for at least one Break Away session. I think a vocal one. In fact, didn't Murry sing on one of the takes too?

Well, he sang on "Be Here In The Morning"...maybe on "Break Away" too.
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« Reply #12 on: September 13, 2012, 05:40:28 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?
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« Reply #13 on: September 13, 2012, 07:30:37 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

what year ?
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« Reply #14 on: September 13, 2012, 07:49:22 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

Uh, yeah!


I really like the sound of Here Today, and I really think it has a very signature to Sunset Sound sound to it.  I thought it was interesting that Bruce Botnick has noted that he used more big condenser mics than some of the other studios.  Apparently he was using these on guitar amps when a lot of other guys were just doing the 545s or 666s.

In any case, it is very distinct from the Western and Gold Star tracks.
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« Reply #15 on: September 13, 2012, 07:53:35 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

what year ?

This year!
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« Reply #16 on: September 13, 2012, 07:53:58 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

Uh, yeah!



Alright man, i'll upload them asap!
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c-man
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« Reply #17 on: September 13, 2012, 08:03:37 PM »

Great info!

One thing stuck out...all of those sessions in 1969, is there a reason why after Brian's home studio was up and running at full capacity, that they'd decide to book time at a commercial studio instead, and do it that often as it looks from the timeline? I'm going on information that around the time of "Friends", Brian's home studio was complete and fully "stocked" enough to compete with some commercial studios...so why book elsewhere if they got what they wanted (finally) at the house?

Good question, but until the second half of the "Sunflower" sessons, they really continued to use outside studios a lot:  Wally Heider for some vocals/mixdown/editing on "Smiley Smile" and "Wild Honey" (and some basic tracks in the latter case),  I.D. sound for about half of "Friends", several studios (Capitol, Heider, I.D. Sound, Valentine) for "20/20", and Sunset and Gold Star for the "Sunflower" era.  Until they got 16-track at Brian's home studio in late '69.  SO...maybe that's the answer...they needed to bounce between two 8-tracks and only had access to one at Brian's (whether it was leased or owned by the BBs).  When they got the 16-track, that was all they needed.  Suppose?

That could be, definitely the 16 track issue could be the factor...has Stephen Desper ever commented on that? Did he engineer the sessions in 1969 which were held outside the home studio?

I know the Smiley and Wild Honey use of outside studios was due more to the fact that Brian's home studio was still very much a patched-together affair, and there was no really permanent installation or setup in place. Then around Friends, it was all but completed, or at least made more "whole" and permanent for that time - and the outsourcing during and after that period is the one which apart from the 16-track issue is still a mystery. They made the studio, they got it set up, designed, and ready to roll, and yet they were still outsourcing more sessions than I think we assumed before seeing the facts actually laid out in a timeline.

Desper definitely engineered the basic track session for "All I Want To Do" that was held at Valentine.  According to the Badman book, Bill Lazarus engineered the Sunset Sound sessions for "Got To Know The Woman".  According to Desper, there was an engineer named Don Henderson who assisted with some of the sessions at Capitol.
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« Reply #18 on: September 13, 2012, 08:14:49 PM »

Valentine supposedly had a great Putnam-designed board, right?
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FatherOfTheMan Sr101
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« Reply #19 on: September 13, 2012, 08:18:47 PM »

Ok found the pics, uploading tomorrow morning...

Also I might make a full thread about this if you guys are interested, I heard a lot of stories, including one about the analog tape machines used in the Good Vibrations Era, and another about why they don't have a sign out front,

Oh, and I played Surf's Up, probaby first time since '71 Wink
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DonnyL
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« Reply #20 on: September 13, 2012, 09:11:26 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

Uh, yeah!


I really like the sound of Here Today, and I really think it has a very signature to Sunset Sound sound to it.  I thought it was interesting that Bruce Botnick has noted that he used more big condenser mics than some of the other studios.  Apparently he was using these on guitar amps when a lot of other guys were just doing the 545s or 666s.

In any case, it is very distinct from the Western and Gold Star tracks.

um, wait a second ... did Sunset Sound have an 8-track in '66 then? I thought they got their first in '67. but the info out there is really conflicting. maybe they rented one.
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Joshilyn Hoisington
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« Reply #21 on: September 13, 2012, 09:12:54 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

Uh, yeah!


I really like the sound of Here Today, and I really think it has a very signature to Sunset Sound sound to it.  I thought it was interesting that Bruce Botnick has noted that he used more big condenser mics than some of the other studios.  Apparently he was using these on guitar amps when a lot of other guys were just doing the 545s or 666s.

In any case, it is very distinct from the Western and Gold Star tracks.

um, wait a second ... did Sunset Sound have an 8-track in '66 then? I thought they got their first in '67. but the info out there is really conflicting. maybe they rented one.


As far as I know it was still 4-track in 66 at SS.
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DonnyL
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« Reply #22 on: September 13, 2012, 09:13:06 PM »

Ok found the pics, uploading tomorrow morning...

Also I might make a full thread about this if you guys are interested, I heard a lot of stories, including one about the analog tape machines used in the Good Vibrations Era, and another about why they don't have a sign out front,

Oh, and I played Surf's Up, probaby first time since '71 Wink

I would love to hear as much info as possible about the multi-tracks they were using '66-'69 era.
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DonnyL
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« Reply #23 on: September 13, 2012, 09:22:33 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

Uh, yeah!


I really like the sound of Here Today, and I really think it has a very signature to Sunset Sound sound to it.  I thought it was interesting that Bruce Botnick has noted that he used more big condenser mics than some of the other studios.  Apparently he was using these on guitar amps when a lot of other guys were just doing the 545s or 666s.

In any case, it is very distinct from the Western and Gold Star tracks.

um, wait a second ... did Sunset Sound have an 8-track in '66 then? I thought they got their first in '67. but the info out there is really conflicting. maybe they rented one.


As far as I know it was still 4-track in 66 at SS.

ok, so they recorded the track at Sunset and the vocals at Columbia I'm assuming?
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« Reply #24 on: September 13, 2012, 09:29:22 PM »

I actually got to record a bit at Sunset. Very cool, I was in Studio 2 and 3 I believe. I have pics... anyone interested?

Uh, yeah!


I really like the sound of Here Today, and I really think it has a very signature to Sunset Sound sound to it.  I thought it was interesting that Bruce Botnick has noted that he used more big condenser mics than some of the other studios.  Apparently he was using these on guitar amps when a lot of other guys were just doing the 545s or 666s.

In any case, it is very distinct from the Western and Gold Star tracks.

um, wait a second ... did Sunset Sound have an 8-track in '66 then? I thought they got their first in '67. but the info out there is really conflicting. maybe they rented one.


As far as I know it was still 4-track in 66 at SS.

ok, so they recorded the track at Sunset and the vocals at Columbia I'm assuming?


Right.  This makes me want to listen to the session.
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