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Author Topic: Brian Wilson & Friends At Ocean Way - Engineer Wesley Seidman In Mix Magazine  (Read 10155 times)
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« on: November 09, 2014, 12:52:39 PM »

http://mixonline.com/recording/artists_engineers_producers/brian_wilson_and_friends_at_ocean_way_studios/

Between Brian Wilson and Ocean Way Studios, Hollywood, you’ve got a whole lot of history, and a lot of musical possibilities.

Wilson began his latest project—an upcoming album of solo performances and duets with famous guests—in the three-studio complex a year-and-a-half ago. Now, fans are waiting with baited breath to hear the tracks, which at press time were being mixed by Bob Clearmountain.

“When Brian finished that last Beach Boys record [That’s Why God Made the Radio, 2012], he soon after began work on this one,” says Ocean Way’s senior staff engineer, Wesley Seidman, who recorded the new tracks. “Brian never stops writing. He’ll come in with a vocal idea, a piano demo that he made on his Dictaphone at home or he will just sit at the piano in the live room, and quickly those ideas become a song.”

Seidman captured the performances to Pro Tools in all three of the studios at Ocean Way (A, B and D), but the engineer says Wilson prefers to do live band tracking and orchestral sections in Studio B, a room that has also hosted sessions for award-winning albums by Green Day, Radiohead, and Eric Clapton with B.B. King: “It’s just the sound and feel of the room itself, and the [custom 56-Input 8068/8088] Neve doesn’t hurt,” Seidman says. “He did almost all of the work on his solo records in there. But he also likes Studio A, where we cut a few tracks and is my favorite room for strings. We also cut a lot of the background vocals and guest vocals for the new album in D.”

Though the final track list wasn’t available at press time, Seidman reveals that guests who cut with Wilson for this upcoming album include musician/producer/label exec Don Was on bass; guitarist Dean Parks; drummers Jim Keltner and Kenny Aronoff; and in-demand vocalists such as Zooey Deschanel, country star Kacey Musgraves, Nate Ruess of Fun., and popular singer/songwriter Lana Del Rey.

Wilson’s vocals were recorded in all three rooms with a Neumann U 47. In Studio A, his voice went through the modified Focusrite console to a Teletronix LA-2A. “In D, we would go through the remote Neve pre’s into an [Universal Audio] 1176, and then toward the last third of the record, I purchased a modified API mic pre, which has amazing bandwidth, and sent the 47 through that, into an 1176. And this is all flat—Brian EQs himself by moving around the mic, which he does naturally. We also used a plethora of [UAD] reverb and delay plug-ins. This enabled us to automate the delay and reverb times for each section of the songs where desired. Brian and I both like the FX to be just right.

“It’s always a pleasure to record such a talented and professional artist like Brian,” Seidman continues. “He also is actually a very funny person. He’s one of the few people able to make me laugh out loud on a regular basis.”

One of the advantages of working in a studio with Ocean Way’s history and reputation is the opportunity to audition new equipment, alongside the vintage. On Wilson’s sessions, Seidman tried out a batch of brand-new Sanken microphones.

“Jim Pace brought us these super-high-fidelity mics—the C0-100Ks,” says Seidman whose nine years and counting at Ocean Way were preceded by stints with Nathaniel Kunkel and Conway Studios. “We tried them on drum overheads, orchestra and horn rooms—they were really amazing. We also used them on a mandolin and acoustic lap steel. Another mic they gave us was the CU-55, which is my new favorite acoustic guitar and banjo mic. It really captures the instrument as it is. It complements the dynamics, so there was no need for a compressor. It’s one of my future purchases for sure.

“Ocean Way is one of only a handful of studios left where you get the opportunity to try the latest things in a controlled environment,” Seidman says. “I also think that musicians actually play differently when they’re there. I’ve worked with a lot of these same players in other places and they’re always amazing, but it’s almost like they get into a different zone when recording in these rooms. There is something very unique about the way the rooms sound and feel at Ocean Way, to the point where I’ve had friends call me up and ask, ‘Was this done at Ocean Way?’ They can tell. They’re getting some kind of overall picture of the rooms themselves and the way people play when they record in them.”
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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 #1 on: November 09, 2014, 12:56:31 PM »

Jim Keltner and Kenny Aronoff drumming, Dean Parks on guitar, Don Was on bass...can't wait to hear these tracks!
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« Reply #2 on: November 09, 2014, 01:02:03 PM »

This will be one solid album.
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« Reply #3 on: November 09, 2014, 01:03:25 PM »

Thanks for this nice read!
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« Reply #4 on: November 09, 2014, 01:06:45 PM »

FYI: Ocean Way has been renamed (or has reverted back to) United Recording as of October 2014. The studio complex at 6050 Sunset in Hollywood is returning to its original name:




Hudson Pacific Properties Relaunches United Recording in Hollywood  Oct 13, 2014 7:26 PM

Hudson Pacific Properties Inc. announces the launch of United Recording at 6050 Sunset Blvd. in Hollywood. United Recording, located at Sunset Gower Studios, was formerly known as Ocean Way Recording.

Hudson Pacific Properties Inc. is a full-service, vertically integrated real estate company focused on owning, operating and acquiring high-quality office properties and state-of-the-art media and entertainment properties in select growth markets primarily in the Pacific Northwest, and Northern and Southern California.

United Recording, one of the world's most recognized music recording studios, is responsible for record sales of more than 1 billion units. United Recording was founded in 1957 by the legendary recording engineer and electronics inventor Bill Putnam with the backing of Bing Crosby and Frank Sinatra.

The famed recording studios have remained untouched, with the original equipment in place run by industry-leading technical staff, while the lounges and common spaces have undergone significant upgrades. The original control rooms and recording spaces have remained virtually the same, retaining the classic acoustic design favored by artists ranging from Sinatra, Nat King Cole and Ray Charles, to modern hit makers such as Radiohead, Green Day and the Red Hot Chili Peppers.

"This is a pivotal time in the studio's history," says Rob Goodchild, United Recording manager. "We look to the future while holding ourselves to the standards of our past."

"United Recording is a legendary studio in the heart of Hollywood," says Bill Humphrey, General Manager, Sunset Gower and Sunset Bronson Studios. "It is not only a piece of entertainment industry history but remains a highly sought-after production space for top artists."

Hudson Pacific Properties acquired the studio in 2013 and states it is striving to continue the legacy of this historic recording studio. "The rebranding back to the original name, United Recording, is one component of a continued investment in strategic media and entertainment properties and reinforces our goal of providing exceptional multimedia production facilities and services to global media and entertainment clients," says Victor Coleman, CEO of Hudson Pacific Properties.

For information about United Recording, visit www.unitedrecordingstudios.com.
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« Reply #5 on: November 09, 2014, 01:27:19 PM »

Very much appreciated, thanks!
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« Reply #6 on: November 09, 2014, 01:44:01 PM »

Thanks for that article and link. Great read.
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« Reply #7 on: November 09, 2014, 02:42:10 PM »

Thanks for the link about the renaming to United.  I always get confused as to which studio is which.  What is the former Western Recorders known as now?

Also, an interesting choice of words regarding Brian putting song ideas down on his "Dictaophone" at home.  I immediately thought of this:

http://www.aes.org/aeshc/docs/recording.technology.history/images/PDRM1572a.jpg
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« Reply #8 on: November 09, 2014, 02:49:27 PM »

"...mixed by Bob Clearmountain"

Yes... yes... there is a God and he loves me. ME, personally.  Grin
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« Reply #9 on: November 09, 2014, 02:54:58 PM »

Western is now known as East West Studios.
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« Reply #10 on: November 09, 2014, 03:15:00 PM »

Thanks for the link about the renaming to United.  I always get confused as to which studio is which.  What is the former Western Recorders known as now?

OK, as best I understand it, United Western (United was at 6050 Sunset, Western next door at 6000) were jointly renamed Ocean Way in 1984. Then, in 1999, the 6000 building was re-renamed Cello, then re-re-renamed EastWest in 2009 (after beign sold and extensively redeveloped). Thus Brian hasn't, as many have assumed been recording in his old haunt of Western, but rather at the old United, which he did use, but very sparingly. The old Western 3 is still there, as part of EastWest. Still the same size, 31 feet by 15.
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« Reply #11 on: November 09, 2014, 03:17:33 PM »

I have a great vibe about this album.
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« Reply #12 on: November 09, 2014, 03:51:21 PM »

Thanks for the link about the renaming to United.  I always get confused as to which studio is which.  What is the former Western Recorders known as now?

OK, as best I understand it, United Western (United was at 6050 Sunset, Western next door at 6000) were jointly renamed Ocean Way in 1984. Then, in 1999, the 6000 building was re-renamed Cello, then re-re-renamed EastWest in 2009 (after beign sold and extensively redeveloped). Thus Brian hasn't, as many have assumed been recording in his old haunt of Western, but rather at the old United, which he did use, but very sparingly. The old Western 3 is still there, as part of EastWest. Still the same size, 31 feet by 15.

I went to Google Maps a year or so ago and came to the same conclusion, Andrew.

It's very odd, because BW has been recording there a lot recently, and it's almost always reported / assumed that he's in his old favorite studio. It sounds so appealing. But it just isn't true.
« Last Edit: November 10, 2014, 12:20:19 AM by Wirestone » Logged
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« Reply #13 on: November 09, 2014, 03:57:48 PM »

To the best of my knowledge Brian used United for the following sessions:

     5/9/63 - Bob & Vicki session: The Summer Moon (track)
 10/15/65 - session: Stella By Starlight/How Deep Is The Ocean/'Three Blind Mice'
   12/9/68 - Honeys session: Goodnight My Love/Tonight You Belong To Me (tracks)
« Last Edit: November 09, 2014, 03:59:55 PM by The Legendary AGD » Logged

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« Reply #14 on: November 09, 2014, 04:05:01 PM »

I wonder if Brian knows -- he has to, right?

But people have talked about him telling them that he recorded Good Vibes there ... Odd.
« Last Edit: November 09, 2014, 04:23:28 PM by Wirestone » Logged
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« Reply #15 on: November 09, 2014, 04:30:57 PM »

Going back to the 60's as Andrew said, the studios were almost thought of as part of the same complex, again as mentioned United Western. When Bill Putnam Sr. was working there he founded and financed the whole thing under the name Universal Audio or UA, and in the 60's that included both his technology and equipment innovations like the 610 preamp and modular console, the LA-2A and 1176 (which according to Wesley were prominently used on Brian's vocals this past year), and other gear. Bill Sr. would have the perfect test lab for his new ideas and products, via the studios under both the Western and United names, and later branched out into San Francisco with Coast, and perhaps some other ventures.

Beyond the fact that Putnam could have his newest inventions and products in full-time, real-world use at his facilities, the rooms there sounded damn good, and attracted in the early days some of the better engineers in LA as well as Sinatra's Reprise cohorts, and *importantly* a band of Hawthorne kids with a guy named Brian who started cutting top-10 records left and right with Chuck Britz, even as the facilities were being remodeled and rebuilt.

Is there a separation physically between the studio facilities? Yes, but again consider when Brian was cutting records there in the 60's both United and Western were part of Putnam Sr's company UA, and all of the studios were fitted out with UA gear and whatever new gear Putnam and his team would come up with.

Look up the studio schedule reposted in LLVS when Brian was there cutting "Jasper" sessions with Chuck, early 1967 - both the studios for United and Western were scheduled on the same sheet, with the engineers and assistants going to sessions in either named complex. United labeled rooms with letters, Western with numbers, hence United A and Western 3. But they were connected, and I believe a lot of people who worked there at that time still consider them the same company when looking back.

UA eventually got out of the studio business, and in 1999 brought back the Universal Audio brand name under Bill Putnam's son, Bill Jr. Today they are solely focused on the recording equipment, and are located in Silicon Valley.

As pointed out, the rooms and facilities themselves have changed hands several times in the past decades, and the names have changed as noted.

And it turned out that Brian became more of a fixture at Ocean Way, and as Wesley mentioned in the interview that is where he has done most of his recording work for at least 20 years. Perhaps he likes the sound of their rooms better as of the recent decades, perhaps as Cello/Western/whatever was actually closed for some time he had a better experience booking Ocean Way, perhaps it had something to do with Mark Linett and the vintage gear available at Ocean Way/United versus the Western facility in recent years, who knows.

But it's not entirely inaccurate to say it's the same complex, because in terms of how it was run in the 1960's when Brian was cutting there, both United and Western were part of the same company and had the same equipment available whether you'd book Western 2 or United B...at that point it came down to which room the producer liked better, which the engineer liked better, and in the case of Western 3 in the 60's it took on a reputation as a "hitmaker" with a lucky streak of recording gold records there. But likewise, you'd find the same basic control room gear in Western 3 as you would on a Sinatra session at United, it was all from Putnam.

And at the end of all that...isn't this getting a bit nit-picky in light of what the interview was about?  Smiley
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« Reply #16 on: November 09, 2014, 10:34:34 PM »

Not really - someone asked about the difference between United & Western, and what were they called now, and as I answered it struck me - as it had Clay a year ago, only he didn't tell anyone ! - that Brian wasn't back where he belonged. OK, he's back in town, but not in the old 'hood. Granted, United & Western were separated only by a parking lot (now built upon), but the answer to the question "is Brian back recording in the same room where he cut pretty much all his hits 1963-1966 ?" the answer is unequivocally, "no".
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« Reply #17 on: November 10, 2014, 12:26:48 AM »

Not really - someone asked about the difference between United & Western, and what were they called now, and as I answered it struck me - as it had Clay a year ago, only he didn't tell anyone ! - that Brian wasn't back where he belonged. OK, he's back in town, but not in the old 'hood. Granted, United & Western were separated only by a parking lot (now built upon), but the answer to the question "is Brian back recording in the same room where he cut pretty much all his hits 1963-1966 ?" the answer is unequivocally, "no".

Aha! I actually did tell someone ... The whole board, as a matter of fact. There was a lot going on at the time, though ...

http://smileysmile.net/board/index.php/topic,12323.msg249679.html#msg249679
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« Reply #18 on: November 10, 2014, 03:42:18 AM »

To the best of my knowledge Brian used United for the following sessions:

     5/9/63 - Bob & Vicki session: The Summer Moon (track)
 10/15/65 - session: Stella By Starlight/How Deep Is The Ocean/'Three Blind Mice'
   12/9/68 - Honeys session: Goodnight My Love/Tonight You Belong To Me (tracks)

Also:
6/5/67 - Smiley Smile session: Vega-Tables (You're With Me Tonight) (probably an unfinished attempt at vocals)
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« Reply #19 on: November 10, 2014, 04:02:38 AM »

Excellent - I have that as Western. Thanks.
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« Reply #20 on: November 10, 2014, 07:58:12 AM »

Not really - someone asked about the difference between United & Western, and what were they called now, and as I answered it struck me - as it had Clay a year ago, only he didn't tell anyone ! - that Brian wasn't back where he belonged. OK, he's back in town, but not in the old 'hood. Granted, United & Western were separated only by a parking lot (now built upon), but the answer to the question "is Brian back recording in the same room where he cut pretty much all his hits 1963-1966 ?" the answer is unequivocally, "no".

Aha! I actually did tell someone ... The whole board, as a matter of fact. There was a lot going on at the time, though ...

http://smileysmile.net/board/index.php/topic,12323.msg249679.html#msg249679

Just for the record, again, if someone got a call to play a session at United or Western, you could stand outside either building in the 60's and the other one was a stones'-throw away in the same complex on the same half-block. And those who worked in the studios got their paychecks signed by the same company, they got the same company memos and newsletters, there was no difference between the Western engineers and the United engineers, they'd work all the same rooms under the UA company ownership. This was until UA sold the studios and separate owners bought the two studio buildings.

Unless I missed it, no one mentioned Brian being where he recorded all his hits in the 60's in this article, and as I pointed out too, Brian has regularly recorded at Ocean Way for the past several decades to the point where it would seem to be his go-to studio of choice. Add that into everything else mentioned here, I just found it curious why an issue that wasn't even brought up was posted as a reply to this article, to the point of wondering if Brian knows the difference. I'd say the answer is unequivocally "yes", he knows the difference.  Smiley  And he also knows that he prefers to work at Ocean Way for the past 30 years, and has chosen to book Ocean Way for projects over other studios...probably for some of the reasons mentioned in the article: They get the sounds he likes in certain rooms there.
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« Reply #21 on: November 10, 2014, 08:45:29 AM »

I wonder why they used Sunset Sound for most of BWPS.
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« Reply #22 on: November 10, 2014, 09:46:10 AM »

I wonder why they used Sunset Sound for most of BWPS.

Is there a specific answer to this question?  Smiley   It could be as simple as scheduling issues, maybe they wanted to block-schedule a week to cut the basic tracks and Ocean Way wasn't available like that at the time they needed to work. They also recorded at Mark's own studio, Your Place Or Mine, why did they do that? Maybe they just wanted to record there, who knows. Why did Brian take the Good Vibrations sessions piecemeal to a handful of different studios, why did he book ID Sound for some Smile dates back in the 60's, for Pet Sounds why did he do some instrumental sessions at Gold Star, some at Western, and finish up some vocals at Columbia, who knows.

It still stands that Ocean Way has been Brian's studio of choice since at least the 90's, if you look at how often he has worked there and look at the album credits, and it still stands that through all of the ownership changes and remodels and upgrades in the past 50 years of running the former Universal Audio facilities, Ocean Way I'd argue based on what I know has certain features that are close to the classic setups and available sounds they have been known for since they were United (and they market their facilities somewhat on that point), and bigger than that, their live rooms sound great and Brian likes the sounds they can get in those rooms.

And beyond that, I'll say again nowhere in the Mix article posted above, nor in the press releases for the newly-acquired and renamed United do they trumpet the fact that the classic 60's BW productions were cut in those rooms, so I don't see what the issue is related to this latest news enough to make it an issue replying to this thread.

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« Reply #23 on: November 10, 2014, 11:00:57 AM »

And beyond that, I'll say again nowhere in the Mix article posted above, nor in the press releases for the newly-acquired and renamed United do they trumpet the fact that the classic 60's BW productions were cut in those rooms, so I don't see what the issue is related to this latest news enough to make it an issue replying to this thread.

Right now, you're the only one making any issue of it, to the point of  Dead Horse . Everyone else moved on at least 24 hours ago. Learn to let go. A lot of us thought Ocean Way = Western: I did, until I delved somewhat. Now I know better. Done, dusted. End of.

Also, you really don't know why Brian used Columbia from the Summer Days... sessions ? Reasons two:

1 - Bruce recommended it to him (having been a staff producer there) because...

2 - it was the only place in town with an 8-track.

That he first recorded there not long after Bruce joined the group is either highly significant or one helluva coincidence. You decide.  Smiley
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