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Author Topic: The Mark Linett Thread  (Read 120915 times)
Charles LePage @ ComicList
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« on: January 03, 2006, 02:51:54 AM »

Ask Mark Linett questions.  Please be courteous and patient.

Mark Linett things to read:

http://earcandy_mag.tripod.com/marklinett.htm

http://www.studioexpresso.com/profiles/MarkLinett.htm

http://mixonline.com/mag/audio_producerengineer_mark_linett/
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« Reply #1 on: January 03, 2006, 07:59:56 AM »

Just noticed this new thread on the board, and I will try to answer questions when possible...... Mark
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« Reply #2 on: January 03, 2006, 08:06:05 AM »

You might also want to check out the following article from Sound on Sound magazine which gives a great overview of the Smile project:

http://www.soundonsound.com/sos/Oct04/articles/smile.htm
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« Reply #3 on: January 03, 2006, 08:45:31 AM »

Just noticed this new thread on the board, and I will try to answer questions when possible...... Mark

Thank you sir, we do all appreciate the time you spend with us here!
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« Reply #4 on: January 03, 2006, 09:28:06 AM »

Mark --

Do the BB's have any anniversary plans? We've heard rumors about a 40th anniversary Pet Sounds re-release, for example.

I think many of us would be interested about any talk of a hi-rez SMiLE. Any movement on that front?

Speaking of SMiLE, has the lp gone into a second pressing? I want one with Don Grossinger's  credit on it.

I'm assuming your 5.1 Surf's Up is in permanent limbo. Yes?

Thanks

PS -- What I Want For Christmas is incredible!! Great job!!!
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« Reply #5 on: January 03, 2006, 10:15:16 AM »

"PS -- What I Want For Christmas is incredible!! Great job!!!"

I would go so far to say that this album is one of the best-sounding CDs Ive ever heard.
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« Reply #6 on: January 03, 2006, 10:39:50 AM »

Mark --

Do the BB's have any anniversary plans? We've heard rumors about a 40th anniversary Pet Sounds re-release, for example.

I think many of us would be interested about any talk of a hi-rez SMiLE. Any movement on that front?

Speaking of SMiLE, has the lp gone into a second pressing? I want one with Don Grossinger's credit on it.

I'm assuming your 5.1 Surf's Up is in permanent limbo. Yes?

Thanks

PS -- What I Want For Christmas is incredible!! Great job!!!

Thanks for the nice comments.

Most of the projects you asked about are in limbo at the moment

There has been talk of a 5.1 and hi-res version of Smile, but nothing definate

Plans for the 40th anniversary of Pet Sounds are being discussed, and I frankly don't know if the Smile vinyl has been repressed w/ Don's and a few other corrections. I will check on that one and get back to you.

And yes sadly The Surf's Up DVD-A seems to be in permanent limbo. Perhaps we can bring it back to life as a dual-disc.

Mark
« Last Edit: January 03, 2006, 11:31:32 AM by Charles LePage » Logged
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« Reply #7 on: January 03, 2006, 11:08:08 AM »

Mark, I have a question about SMiLE. As you may know ( Roll Eyes) the tracks flow into each other, so its hard to say where one track ends and the next starts. Which creates for example the problem "Does the Whispering Winds-section belong to On A Holiday or to Wind Chimes?"

My question is: Who decided the positions of the cuts? Brian, Darian or you?
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« Reply #8 on: January 03, 2006, 11:15:43 AM »

Mark, I have a question about SMiLE. As you may know ( Roll Eyes) the tracks flow into each other, so its hard to say where one track ends and the next starts. Which creates for example the problem "Does the Whispering Winds-section belong to On A Holiday or to Wind Chimes?"

My question is: Who decided the positions of the cuts? Brian, Darian or you?

The" whispering winds" section I think we made a "part" of Holiday, sort of the tag as it were. Most of the points were obvious , but a few did pose problems.

Darian and I placed the cues originally and then played them for Brain who had us a change a few...... Mark
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« Reply #9 on: January 03, 2006, 11:20:56 AM »

So it was you and Darian under the supervision of Brian. Kind of how I imagined it. Thanks for your answer!
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« Reply #10 on: January 03, 2006, 07:33:39 PM »

What changes did Brian make?
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« Reply #11 on: January 03, 2006, 11:44:00 PM »

Mark,

the song Soulful Old Man Sunshine (on the Endless Harmomny soundtrack) alternates between stereo in the chorus and fake stereo during the verses.  Could you explain why this is the case?
More generally, could you explain what tapes and tracks of this song exist, and how you came up with the finished mix?  Were some sections already mixed in 1969? If no original mix or test mix existed, how was the strucutre of the song decided? Do all the instrumental sections exist on multitracks, i.e. would a true stereo instrumental mix have been possible?

Thank you in advance.
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« Reply #12 on: January 04, 2006, 02:15:30 AM »

In the SMiLE-booklet, Brian is credited with "music, vocals, keyboards". On which parts did he play the keys?
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« Reply #13 on: January 04, 2006, 07:29:52 AM »

I'm thinking it's Wind Chimes, since Brian tends to play keys on that live.
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« Reply #14 on: January 04, 2006, 08:54:20 AM »

Mark, a couple of months ago, it dawned on me that the track "Pet Sounds" was tracked in a somewhat unique way from the rest of the tracks from the LP.

The percussion track was tracked first, that's why the first take as presented on the box set doesn't feature any other instruments, right? 

Then, playing around with stereo balance and out of phase stereo cancellation and such, I came to the conclusion that there were several more seperate overdubs.  The basses are pretty much alone on one track (and must have been tracked by themselves; there seems to be absolutely no leakage from anything on the bass track), and then Brian went out into the booth and played piano while Richie Frost added some drums and the horn section did their thing.  Am I correct so far?

I wondered on the old bored if it was done this way partly because there weren't enough percussion players to pull off what Brian wanted live, and then since there was the preexisting percussion track, the group would have had to use headphones, of which there may not have been enough for everyone at once?

So then, there would have been an additional horn overdub, a reduction to a new tape, then the bongos, and the two lead guitar overdubs?

I may be way off base, but I think there's some interesting stuff going on there.



On another note, there has been much written about your process for remixing Pet Sounds, but how similar or different was the process for your remixes of the Smiley Smile and Wild Honey material for Hawthorne?

Vegetables and Let the Wind Blow are my two favourite remixes of yours, and I've wondered if everything was present on an eight-track, or if some synching had to be done, etc.  Also, if you did any other mixes from those albums potentially for Hawthorne that didn't make the cut. 
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« Reply #15 on: January 04, 2006, 09:15:39 AM »

Just to bombard you some more Mark. Regarding sampled/convolution reverb, I took a hand clap and drum click from a session track of Beach Boys session, bathed in echo chamber and used them as impulses for the convolution reverb. Sounds very good.

Convolution reverb is an amazing but simple idea. It's revolutionised digital reverb.

H, is that Jonbon Jovi?

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« Reply #16 on: January 04, 2006, 10:48:46 AM »

Yes it is.  It was one of the only preloaded choices for the board that I didn't absolutely loathe.

What program do you use for sampling reverbs, king o'?  I was still holding out for building my own live chamber...but I'm about ready to bite the bullet and forget the dream.
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« Reply #17 on: January 04, 2006, 10:55:33 AM »

Mark, a couple of months ago, it dawned on me that the track "Pet Sounds" was tracked in a somewhat unique way from the rest of the tracks from the LP.

The percussion track was tracked first, that's why the first take as presented on the box set doesn't feature any other instruments, right?

Then, playing around with stereo balance and out of phase stereo cancellation and such, I came to the conclusion that there were several more seperate overdubs. The basses are pretty much alone on one track (and must have been tracked by themselves; there seems to be absolutely no leakage from anything on the bass track), and then Brian went out into the booth and played piano while Richie Frost added some drums and the horn section did their thing. Am I correct so far?

I wondered on the old bored if it was done this way partly because there weren't enough percussion players to pull off what Brian wanted live, and then since there was the preexisting percussion track, the group would have had to use headphones, of which there may not have been enough for everyone at once?

So then, there would have been an additional horn overdub, a reduction to a new tape, then the bongos, and the two lead guitar overdubs?

I may be way off base, but I think there's some interesting stuff going on there.



On another note, there has been much written about your process for remixing Pet Sounds, but how similar or different was the process for your remixes of the Smiley Smile and Wild Honey material for Hawthorne?

Vegetables and Let the Wind Blow are my two favourite remixes of yours, and I've wondered if everything was present on an eight-track, or if some synching had to be done, etc. Also, if you did any other mixes from those albums potentially for Hawthorne that didn't make the cut.

I believe that the song pet Sounds was built up on three tracks and then the guitar solo was added. No idea why Brian did it that way, but it may have been that he didn't have enough players at the studio to do it any other way.

As for Vegetables and Let the Wind Blow on Hawthorne, the latter had all the tracks on one 8 track, but Vegetables did require editing of the sections together to create a complete multi-track to mix from. By this time everything was being done on 8 track and in this case just one generation, no dubdowns as with some songs like "Time To Get Alone" which did require the syncing of a couple of 8 tracks.

I don't recall that we mixed any other tracks that were left off the project.

Mark
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« Reply #18 on: January 04, 2006, 11:00:57 AM »

Thank you, Mark.

And King, wow, I just got around to trying the convolution plug-in that comes with audition...and holy cow.  I now have Western, Gold Star, Sunset Sound, and other famous echo chambers "at my disposal."

Why didn't somebody tell me about this before?
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« Reply #19 on: January 04, 2006, 11:42:10 AM »

Thank you, Mark.

And King, wow, I just got around to trying the convolution plug-in that comes with audition...and holy cow. I now have Western, Gold Star, Sunset Sound, and other famous echo chambers "at my disposal."

Why didn't somebody tell me about this before?

Now I have a question for you.

How could someone create a sample of Goldstar's chamber since it was destroyed 20 years ago ? You can sample a chamber (or any line level reverb) quite easily if it exists and you have access to it to play and record the required impulses for measurement by the convolution program, but that's the only way I know of to "sample" a chamber or device.....Also what exactly is audition..... Mark
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« Reply #20 on: January 04, 2006, 11:52:08 AM »

Adobe Audition is the DAW I use to record.

And it's true, the samples of Gold Star's echo chamber isn't really a true sample of it.  What I'm doing right now is trying to use Hal's snare/tom hit from the Wouldn't it be Nice intro as the impulse.  Keep in mind I just learned of this a few minutes ago so I'm still trying to get how to use this plug-in.

The problem is, the aforementioned hit has way too much room in it to really work that well.  It's really interesting to play around with.  I don't know if there are any exposed, 100% echo chamber "impulses" that you could grab for use in the beach boys catalog.  King of A, what handclap and drum click did you use?
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« Reply #21 on: January 04, 2006, 03:08:26 PM »

I used a talk-back mic "pop" from a Good Vibrations sessions. Had a bit of tape echo on it as well as chamber. Also a couple of stick count-ins from GV again. Not long enough reverb tails on them but still good.
I haven't searched around for a good, long, clean click yet, but I'm sure they're somewhere.

I use Acoustic Mirror which comes bundled with Sony Soundforge. It's a bit more user friendly than the Convolution plug-in on Audition and has envelopes, filters etc...

I find that equalising (remove bottom end) and some hard-compressing is necessary for getting decent impulses.
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« Reply #22 on: January 04, 2006, 03:33:18 PM »

Talkback mic pops certainly are good sources in terms of having a nice percussive element to them...It's interesting that sometimes they had reverb on the talkback and sometimes they didn't.
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king of anglia
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« Reply #23 on: January 04, 2006, 03:56:06 PM »

Hmmm. Perhaps they just outputted the whole mixing board out to the chamber.
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« Reply #24 on: January 04, 2006, 05:51:30 PM »

I used a talk-back mic "pop" from a Good Vibrations sessions. Had a bit of tape echo on it as well as chamber. Also a couple of stick count-ins from GV again. Not long enough reverb tails on them but still good.
I haven't searched around for a good, long, clean click yet, but I'm sure they're somewhere.

I use Acoustic Mirror which comes bundled with Sony Soundforge. It's a bit more user friendly than the Convolution plug-in on Audition and has envelopes, filters etc...

I find that equalising (remove bottom end) and some hard-compressing is necessary for getting decent impulses.

Interesting idea which will produce some sort of reverb pattern although I doubt it will be what the chamber actually sounded like. Normally the impulse is either a frequency sweep or a starter pistol which is considerably louder than the talkback "pop". Also in the case of a chamber a sweep through the speaker would be much more accurate than a popI will give it a try and see what it sounds like. BTW Altiverb comes with three of the Western chambers which are all good. EMT plates were also used a lot at Western and Sunset, but not at Goldstar.

Mark
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