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Author Topic: Now live over at Sound On Sound magazine... a tech interview with Mark Linett  (Read 2248 times)
Matt Bielewicz
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« on: June 20, 2019, 09:11:39 AM »

Thanks to Mark Linett - the man is a true star...

https://www.instagram.com/p/By8JWXQndI2/

or

https://sosm.ag/2x52Qe7

...and it's a happy (but complete and total) coincidence that it was ready to go live on Brian's birthday...!
« Last Edit: June 20, 2019, 10:26:01 AM by Matt Bielewicz » Logged
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« Reply #1 on: June 20, 2019, 09:41:48 AM »

Matt - Thanks for sharing the link! Just a suggestion, add Mark's name to the thread title so people reading know what it's about.

This is *essential* viewing for everyone. Absolutely terrific. Mark is one of the true heroes in the band's history.

Direct YouTube link: https://youtu.be/lFHGP4kwgt4
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
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« Reply #2 on: June 20, 2019, 09:59:01 AM »

I'm really, really happy to see that video interview with Mark posted! If Mark himself is reading this thread, I just had a few questions:

At roughly :44 into the video, there is a shot of a letter addressed to Mark from radio station 610 WIP in Philly...tagged on air by the DJ's as"Color 61" or "610 Color Radio" whatever that meant  Grin . I was wondering what that letter was, and how you came in contact with 610 WIP at that time. It's been a sports talk type of station for many years now, but in the 60's it was a Metromedia owned station that played the format "middle of the road", mixing current hits with standards like Cole, Sinatra, etc and news versus the rock stations in Philly WIBG and WFIL. As a Philly radio guy, anytime I see an old callsign like WIP I'm curious to hear any backstories. And both my Mom and Dad back in their younger years after the war were listeners of "The Dawn Patrol" overnight show with Joe McCauley until Joe started doing morning drive-time.  Smiley

I know it's been discussed before, but I was also wondering how you handled the old 3-track tapes: There is the story of Geoff Emerick and George Martin in the 70's having trouble both finding and keeping running a working 3-track machine when they were doing the Beatles "Hollywood Bowl" project, as all those tapes were done by Capitol on 3-track. Was it a case of more working 3-track machines being available near LA or just that more had been refurbished and in working condition in more recent times than in the 70s?

Thanks again for a terrific video interview.
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« Reply #3 on: June 20, 2019, 02:00:56 PM »

This is GREAT.

Not all heroes wear capes.  Thanks Mark and Alan!

Brilliant video.
« Last Edit: June 20, 2019, 02:09:12 PM by CenturyDeprived » Logged
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« Reply #4 on: June 20, 2019, 05:01:13 PM »

I'm really, really happy to see that video interview with Mark posted! If Mark himself is reading this thread, I just had a few questions:

At roughly :44 into the video, there is a shot of a letter addressed to Mark from radio station 610 WIP in Philly...tagged on air by the DJ's as"Color 61" or "610 Color Radio" whatever that meant  Grin . I was wondering what that letter was, and how you came in contact with 610 WIP at that time. It's been a sports talk type of station for many years now, but in the 60's it was a Metromedia owned station that played the format "middle of the road", mixing current hits with standards like Cole, Sinatra, etc and news versus the rock stations in Philly WIBG and WFIL. As a Philly radio guy, anytime I see an old callsign like WIP I'm curious to hear any backstories. And both my Mom and Dad back in their younger years after the war were listeners of "The Dawn Patrol" overnight show with Joe McCauley until Joe started doing morning drive-time.  Smiley

I know it's been discussed before, but I was also wondering how you handled the old 3-track tapes: There is the story of Geoff Emerick and George Martin in the 70's having trouble both finding and keeping running a working 3-track machine when they were doing the Beatles "Hollywood Bowl" project, as all those tapes were done by Capitol on 3-track. Was it a case of more working 3-track machines being available near LA or just that more had been refurbished and in working condition in more recent times than in the 70s?

Thanks again for a terrific video interview.

You're welcome......

I'm not sure what that letter is or if in fact it was filmed at my studio. As for the 3 track question.... the group's tapes are all in fine condition and over the years have been transferred using either my Scully 1/2" machine or my Ampex ATR which also has 3 track and four track heads. The group's tapes have all been transferred to hi-res digital over the years with the exception of some of the live recordings. Also as I indicated in the interview we have almost all of the tapes, and they are stored correctly and safely.......

Stay tuned for an upcoming announcement.... Mark
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« Reply #5 on: June 20, 2019, 08:31:27 PM »

Stay tuned for an upcoming announcement....

Ooooooooh!
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Matt Bielewicz
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« Reply #6 on: June 20, 2019, 11:25:59 PM »

Well, Mark has beaten me to it. I'm not sure what that letter is either - the rest of the SOS video team are really good at arriving at a filming venue and just instantly going off filming, capturing anything that looks interesting so that they can use it as visual cutaways throughout an interview for when it comes to editing it all together later. I can confirm that the letter was definitely in Mark's studio (as you can see, because it's addressed to him at the top), but I'm not sure in which corner of the studio it was when it was filmed - I didn't even notice the guys filming that! Basically, though, all the footage in that video that doesn't have a beech tabletop in view at the back of it comes from Mark's place. And I can also vouch for the beech tabletop location - because it's my own kitchen table. It was a good neutral background to put the record sleeves on that we wanted to cut away to throughout the video! For my sins, all the sleeves come from my own collection. How on earth did I end up with so much Beach Boys... stuff?

There was a section filmed about Mark's vintage Scully and ATR three and four-track tape machines in the original rough cut, but the SOS format is pretty strict that the finished films have to be as close to 30 minutes as possible, so it (like lots of other stuff) was evenutally cut at video edit revision three, unfortunately. As I have just said at the blue and white forum, I could have happily rambled on asking questions of Mark all day long, but the rest of the team, not unreasonably, were discreetly looking at their watches and thinking about how on Earth they were going to shoehorn this long interview about ancient tapes into something even approximating 30 minutes...!

I've also said this at the other place, but the impression I get is that the BB copyright sets are far from an automatic release every year, despite the supposed requirement to protect copyright on the original recordings. As much as we might hope or assume that they'll just come out like clockwork every year (wasn't someone posting on here about a year ago pondering on what 'goodies' we might get in 2030 on the 'inevitable' Keeping The Summer Alive 1980 copyright set? Good luck waiting for that one...!), I get the sense that a case has to be made for them every single year, and that they might not be around forever if industry expectations change or if the sets stop selling so well. But looking back at the sheer mass of stuff that the Boys recorded in 1969-70, I would have thought there's enough potential in the next release, at least, for us to see something decent released. I sincerely hope that's what the forthcoming announcement is about...!
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« Reply #7 on: June 21, 2019, 08:19:30 AM »

I went back and looked at the video, and now know what the letter is.

Shortly before the shoot I had a water leak in my studio and a bunch of letters and other papers from my teenage years  got wet and had been laid out to dry. The letter is from my old collection of QSL cards and is a response to my sending a report that I heard the station on my shortwave receiver.

Nothing to do with the Beach Boys..........
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« Reply #8 on: June 21, 2019, 08:32:56 AM »

As a huge Beach Boys fan, Linett fan, and audio engineer, this was a total treat!
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« Reply #9 on: June 21, 2019, 08:57:49 AM »

I went back and looked at the video, and now know what the letter is.

Shortly before the shoot I had a water leak in my studio and a bunch of letters and other papers from my teenage years  got wet and had been laid out to dry. The letter is from my old collection of QSL cards and is a response to my sending a report that I heard the station on my shortwave receiver.

Nothing to do with the Beach Boys..........

Very cool! I was curious to find out how a bit of Philly radio history ended up in your studio, nothing related to the Beach Boys. I didn't know if you had been doing some market research or some work that involved WIP like surveys or something, but it was a QSL. Thanks Mark!

FYI anyone who doesn't know: QSL cards were a part of ham radio and shortwave radio operators and listeners...when you would pull in a distant station or if a ham operator made contact and communicated with another base, you could ask them for a QSL card which was like a record of having pulled in that station or that operator that you'd collect which you'd keep as a record or log. It could be amazing how far certain AM broadcast stations could reach given the right conditions, if there was "skip" involved, and depending on their power coming from the transmitters on the right night. I think the old term for certain AM rock/pop stations with all that power was either "blowtorch" or "flamethrower" because the signal was huge. As a kid I used to do it with some extended bands and be thrilled to pull in some random highway police or tow truck bands around 159 mhz on this little extended range transistor radio, not even a shortwave or ham/scanner.

Anyway...thanks again Mark! Very cool to see that little slice of Philly radio within an amazing video.  Smiley
« Last Edit: June 21, 2019, 08:59:34 AM by guitarfool2002 » Logged

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« Reply #10 on: June 22, 2019, 12:00:19 AM »

Thank you very much for that video! Fascinating stuff! I could listen to Mark talk about this for hours. Mark (and Alan) are doing an amazing job with the copyright extension collections and I sincerely hope they will continue to put them out... even if it means I’ll have to buy them twice or thrice every time to make sure they’re selling enough of them!
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« Reply #11 on: June 23, 2019, 11:59:05 AM »



You're welcome......

I'm not sure what that letter is or if in fact it was filmed at my studio. As for the 3 track question.... the group's tapes are all in fine condition and over the years have been transferred using either my Scully 1/2" machine or my Ampex ATR which also has 3 track and four track heads. The group's tapes have all been transferred to hi-res digital over the years with the exception of some of the live recordings. Also as I indicated in the interview we have almost all of the tapes, and they are stored correctly and safely.......

Stay tuned for an upcoming announcement.... Mark
[/quote]


Oh, you mentioned Good Vibrations is on your to-do list for a true stereo mix as far as it can be done -- would be proper neat is if you please added the extended fade-out and the hum-dee-daa section. Or at least a bonus track with those sections in Good Vibrations.

Thanks  Smiley

« Last Edit: June 23, 2019, 01:30:20 PM by PetSmile » Logged

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« Reply #12 on: June 23, 2019, 01:31:43 PM »

I'm really, really happy to see that video interview with Mark posted! If Mark himself is reading this thread, I just had a few questions:

At roughly :44 into the video, there is a shot of a letter addressed to Mark from radio station 610 WIP in Philly...tagged on air by the DJ's as"Color 61" or "610 Color Radio" whatever that meant  Grin . I was wondering what that letter was, and how you came in contact with 610 WIP at that time. It's been a sports talk type of station for many years now, but in the 60's it was a Metromedia owned station that played the format "middle of the road", mixing current hits with standards like Cole, Sinatra, etc and news versus the rock stations in Philly WIBG and WFIL. As a Philly radio guy, anytime I see an old callsign like WIP I'm curious to hear any backstories. And both my Mom and Dad back in their younger years after the war were listeners of "The Dawn Patrol" overnight show with Joe McCauley until Joe started doing morning drive-time.  Smiley

I know it's been discussed before, but I was also wondering how you handled the old 3-track tapes: There is the story of Geoff Emerick and George Martin in the 70's having trouble both finding and keeping running a working 3-track machine when they were doing the Beatles "Hollywood Bowl" project, as all those tapes were done by Capitol on 3-track. Was it a case of more working 3-track machines being available near LA or just that more had been refurbished and in working condition in more recent times than in the 70s?

Thanks again for a terrific video interview.

You're welcome......

I'm not sure what that letter is or if in fact it was filmed at my studio. As for the 3 track question.... the group's tapes are all in fine condition and over the years have been transferred using either my Scully 1/2" machine or my Ampex ATR which also has 3 track and four track heads. The group's tapes have all been transferred to hi-res digital over the years with the exception of some of the live recordings. Also as I indicated in the interview we have almost all of the tapes, and they are stored correctly and safely.......

Stay tuned for an upcoming announcement.... Mark

Oh, you mentioned Good Vibrations is on your to-do list for a true stereo mix as far as it can be done -- would be proper neat if you added the extended fade-out and the hum-dee-daa section.

 Or at least a bonus track with those sections in Good Vibrations.

Thanks  Smiley
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