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Author Topic: The Mark Linett Thread  (Read 244392 times)
Aegir
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« Reply #400 on: November 01, 2008, 10:17:35 PM »

It's not a dead subject. None of the higher-ups are actually commenting on the video, they're commenting on the track.
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« Reply #401 on: November 02, 2008, 08:00:03 PM »

Pardon me for asking, but is English your first, or even second, language ?  Or do you just have a severe comprehension problem ?

There's no confusion between the album track and the video track being under discussion; if you care to read my post again (or get someone to read it for you, and explain), I said I sent Bruce a link to the video, and that my source, who is one of the few people in the BB world I trust without question, told me that the video track is a mono fold-down of the 2007 recording. Seeing as you cannot evidently tell the difference between mono and stereo, I'd say your gut instinct is open to rigorous questioning, if not outright dismissal.

Yes, it does sound a lot like Bruce... but Mark says it isn't, Bruce says it isn't and above all simple logic says it isn't (aside from anything else, elements that are clearly from the 2007 track overlay it, so it's not a simple edit as some have claimed). But, as I said, can't make someone understand something they don't want to hear. The album track and the video track are the same recording, and Bruce isn't on it.

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« Reply #402 on: November 04, 2008, 01:28:13 PM »

I was able to track down the fellow who put together the GOK 2007 video clip - his name is BOB SCHLEINZIG, and his response to my question about that audio was surprising, to say the least.   Here's what Bob had to say:

______________________

You guys got good ears!  Yeah, well I did do a bit of a switch there at the end, yes.  But boy oh boy oh boy, if I knew it was gonna cause so much ruckus I never would have done it, believe me!

You're right - that little bit at the end isn't from the new version that Brian Wilson recorded.  But it's not Bruce Johnson either.  It's really my brother Clint, who was a Beach Boys nut ever since way back when.  He used to drive my dad crazy when we were kids and he'd be listening to Beach Boys records all day long at  full volume, and my dad would keep yelling "Take that damn record off, they sound like mosquitos!" but Clint just loved their music, and years ago he got hold of this weird album that only had the instruments for a lot of Beach Boy songs and so one day he goes and books a studio and he goes in and sings all the songs onto this record so it's like The Beach Boys Greatest Hits by Clint Schleinzig, see?  This was way before Karaoke!  And Clint totally sounded like them which made it almost spooky, especially when he would sing like Bruce Johnson because he could totally nail that guy's voice, you know?  I still remember how he'd hang around the house and sing that Disneyland Girl song all day and my dad actually liked that song, and that meant a lot to Clint because he and my dad always had problems getting along. 

Anyhow, Clint was kind of a screw-up and he always had bad luck.  He stepped on a rake and died last year just before I got this Brian Wilson job and when I was putting the video together I put that little bit off his version of God Only Knows at the very end as a sort of tribute.  It was Clint's dream to sing with the Beach Boys someday and he never lost sight of that dream.  So now he's singing with Brian Wilson and I know that somewhere he's totally getting off on that.

I didn't mean to make anybody angry or cause any problems and I'm very sorry if I did.  I did it for my brother.
_________________________________


Thanks for clearing that up, Bob.

So sorry for your loss.  May Clint live on in the music.





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« Reply #403 on: February 23, 2009, 03:48:23 PM »

Mark, I always wondered. Was this tape just a sample or all that your could (at that time) find of the Smile tracks in the vaults?

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« Reply #404 on: February 24, 2009, 05:19:30 AM »

Mark, I always wondered. Was this tape just a sample or all that your could (at that time) find of the Smile tracks in the vaults?



And what do the two asterisks mean (next to H&V and Barnyard?)  ?
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« Reply #405 on: March 04, 2009, 08:44:11 PM »

Mark, I always wondered. Was this tape just a sample or all that your could (at that time) find of the Smile tracks in the vaults?



And what do the two asterisks mean (next to H&V and Barnyard?)  ?

The two things that stick out to me is 1) At :56 the time of "She's Goin' Bald" is about the same as "He Gives Speeches", and, 2) Is there any significance to having "Been Way To Long" on a SMiLE sessions comp? There is a 1:46 version floating around.
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« Reply #406 on: March 04, 2009, 09:02:34 PM »

Quote
The two things that stick out to me is 1) At :56 the time of "She's Goin' Bald" is about the same as "He Gives Speeches", and, 2) Is there any significance to having "Been Way To Long" on a SMiLE sessions comp? There is a 1:46 version floating around.

She's Goin' IS He Gives Speeches. And the Been Way Too Long IS the version on that is on the 1989 Japanese SMILE boot. WOW. That was 20 years ago. Holy crap!
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« Reply #407 on: March 23, 2009, 04:12:47 PM »

I  have seen in interviews that TLOS was deliberately produced to have a dry less reverberent sound as this seems to be the order of the day on modern records...I am currently studying the very issue of reverb in record production and wonder if Mark (or anybody) can point me towards where I may find more info on this particular trend.  Would be very grateful Smiley.

Cheers Smiley
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« Reply #408 on: March 25, 2009, 07:35:35 AM »

I  have seen in interviews that TLOS was deliberately produced to have a dry less reverberent sound as this seems to be the order of the day on modern records...I am currently studying the very issue of reverb in record production and wonder if Mark (or anybody) can point me towards where I may find more info on this particular trend.  Would be very grateful Smiley.

Cheers Smiley

You ask for comments on this subject from anyone.  Please see my comment on my own thread.  ~Stephen W. Desper
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« Reply #409 on: April 19, 2009, 01:30:06 PM »

Mark:

I just came across an interview/article you did for EQ magazine back in '96, which, for some reason, I heretofore had not seen.  It's about remixing Pet Sounds - and if you had referred me to it a few years ago you could have saved yourself from answering many of my pesky questions on here.

But reading this article also left me wanting more, so I have a couple of new pesky questions for you based on what I read in this 13 year old article:

In it, you say:

"The Studio 3 board had 12 inputs (Linett’s board has 14). “For a big band date that would have not been enough, so they had all sorts of outboard stuff to compensate - even the talkback was outboard,” says Linett."

I thought that was interesting, the talkback being an outboard unit.  Could you describe that?  Would that be a little box with a mic and a button?  Where was that plugged in?  I always assumed Putnam had included some sort of post-input patch point that fed the studio monitors.  Also, what other kinds of outboard stuff are you talking about?  Small consolettes?  I'm very interested in this, I always have assumed that things had to be combined for some of the larger Beach Boys sessions.

You also said:
The bass would often be milked with one of the [RCA] 77’s

Did you mean Fender (amp) or String bass there?

Also, regarding reverb and slap, do you know the preferred effects order there?  Was it signal -> chamber -> slap -> compressor -> tape machine?  Or did it hit the tape slap before the chamber?

Thanks for your input on this kind of stuff over the years, Mark - it does mean a lot to me, for some reason, to know about studio arcana.

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« Reply #410 on: April 19, 2009, 06:06:00 PM »

Also Mark, thought you'd like to see this if you haven't already:

http://www.uaudio.com/webzine/2008/november/analog.html

I assume that console might have been used for some of the late 60s Beach Boys mixing sessions at Heider's?
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« Reply #411 on: April 20, 2009, 04:39:22 AM »

Mark:

I just came across an interview/article you did for EQ magazine back in '96, which, for some reason, I heretofore had not seen.  It's about remixing Pet Sounds - and if you had referred me to it a few years ago you could have saved yourself from answering many of my pesky questions on here.

But reading this article also left me wanting more, so I have a couple of new pesky questions for you based on what I read in this 13 year old article:

In it, you say:

"The Studio 3 board had 12 inputs (Linett’s board has 14). “For a big band date that would have not been enough, so they had all sorts of outboard stuff to compensate - even the talkback was outboard,” says Linett."

I thought that was interesting, the talkback being an outboard unit.  Could you describe that?  Would that be a little box with a mic and a button?  Where was that plugged in?  I always assumed Putnam had included some sort of post-input patch point that fed the studio monitors.  Also, what other kinds of outboard stuff are you talking about?  Small consolettes?  I'm very interested in this, I always have assumed that things had to be combined for some of the larger Beach Boys sessions. THIS COMMENT ONLY APPLIED TO LARGER SESSIONS DONE IN STUDIO 2 WHERE THEY HAD COMBINERS AND OUTBOARD PREAMPS THAT COULD BE USED TO INCREASE THE NUMBER OF MICS USED FOR A SESSION. IN STUDIO THREE OR FOR MOST ANY "ROCK" DATE 12-14 INPUTS WOULD HAVE BEEN MORE THAN ENOUGH. THE TALKBACK MIC WAS EXTERNAL WHICH WAS TYPICAL OF ALL STUDIOS AT THE TIME HAVING MORE TO DO WITH WHERE THE MIC AND SWITCH WERE LOCATED. THE PREAMP USED FOR THE TALKBACK COULD BE ASSIGNED TO ONE OF THE 3 TRACK OUTPUTS ON THE CONSOLE SO IT WOULD PRINT TO THE MASTER TAPE

You also said:
The bass would often be milked with one of the [RCA] 77’s

Did you mean Fender (amp) or String bass there? STRING BASS. ELECTRIC BASS WOULD MOST LIKELY HAVE GOTTEN A SHURE 545 OR EV 666

Also, regarding reverb and slap, do you know the preferred effects order there?  Was it signal -> chamber -> slap -> compressor -> tape machine?  Or did it hit the tape slap before the chamber? TAPE SLAP AND REVERB WOULD HAVE BEEN TWO DIFFT EFECTS THO THE CHAMBER MIGHT SOMETIMES BE PRE-DELAYED WITH A TAPE. EMT PLATES SEEM TO ALSO HAVE BEEN USED

Thanks for your input on this kind of stuff over the years, Mark - it does mean a lot to me, for some reason, to know about studio arcana.


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« Reply #412 on: April 20, 2009, 04:41:19 AM »

Also Mark, thought you'd like to see this if you haven't already:

http://www.uaudio.com/webzine/2008/november/analog.html

I assume that console might have been used for some of the late 60s Beach Boys mixing sessions at Heider's?

I believe this was a remote console for live recording. By the time Heider built his studios I believe that the consoles were solidstate...... Mark
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« Reply #413 on: April 20, 2009, 06:48:37 AM »

Thanks Mark.

Has Universal Audio ever contacted you about looking at your Western Console?  I read elsewhere on their site that they were interested in tracking down as many original Putnam consoles as they could and documenting them.

Quote
TAPE SLAP AND REVERB WOULD HAVE BEEN TWO DIFFT EFECTS THO THE CHAMBER MIGHT SOMETIMES BE PRE-DELAYED WITH A TAPE. EMT PLATES SEEM TO ALSO HAVE BEEN USED

I know they're different effects, which is why I wondered if there was a preferred order.  I would assume you would most likely put the tape delay first, and send that to Chamber/EMT/Spring reverb, whatever reverb they used for the particular track.  It was interesting, in that video, they use the Cooper Time Cube, that UREI device that is used only for predelay and uses a hose to delay the signal.  That came out in 1970, I think.

Quote
IN STUDIO THREE OR FOR MOST ANY "ROCK" DATE 12-14 INPUTS WOULD HAVE BEEN MORE THAN ENOUGH.

I just had in mind "God Only Knows" actually, where it seems like the instrumentation might be pushing 12-14...

drums, percussion, three basses, Carl's guitar direct from the booth, harpsichord, piano, the flute/winds section, it sounds like Alan had his own mic for the French Horn, accordions, and the string section - that would be 13 assuming the strings got only one mic.  I guess that's not too bad, actually.
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« Reply #414 on: May 23, 2009, 07:47:49 PM »

Mark:

Finally got a chance to buy Summer Love Songs today and I have to say: I was floored by the "Why Do Fools" mix.  Very nice work.  It's one of those mixes that is so revealing that you can't believe it's the same recording.  The presence and punch of Mike's bass "dmm-op" vocals in stereo...that stuff is why I love the Beach Boys so much.  Thanks for putting that together, and of course the other new mixes too.
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« Reply #415 on: May 24, 2009, 07:48:16 AM »

You're quite welcome. It was such an amazing revelation to hear these sessions especially WDFFIL which is one of Brian's earliest using the "Wrecking Crew" . Now if we could only find those other 5 reels........ Mark
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« Reply #416 on: May 24, 2009, 08:38:59 AM »

You're quite welcome. It was such an amazing revelation to hear these sessions especially WDFFIL which is one of Brian's earliest using the "Wrecking Crew" . Now if we could only find those other 5 reels........ Mark
Please tell me you are hot on the trail of those reels and are about to unvail  all of the BB albums as Two-fers of original BW mono mixes and your new stereo mixes!
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« Reply #417 on: May 24, 2009, 11:44:41 AM »

You're quite welcome. It was such an amazing revelation to hear these sessions especially WDFFIL which is one of Brian's earliest using the "Wrecking Crew" . Now if we could only find those other 5 reels........ Mark

Mark, what was the track situation with WDFFIL?  Clearly there are a least two tracks of vocals and two of the track.  Did you have to sync tracks from 3-track two tapes or was this on 4-track?
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« Reply #418 on: May 24, 2009, 12:00:36 PM »

3 track w. the basic track plus one overdub on it with the first vocal dubbed down to a 2nd 3 track. So we synced the two three tracks to end up with all 4 tracks to mix from.

Four track didn't arrive till late 65 and not till 66 at Goldstar.......
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« Reply #419 on: May 24, 2009, 01:14:06 PM »

3 track w. the basic track plus one overdub on it with the first vocal dubbed down to a 2nd 3 track. So we synced the two three tracks to end up with all 4 tracks to mix from.

Four track didn't arrive till late 65 and not till 66 at Goldstar.......

Thanks.  That's what I figured would be the case but I wanted to make sure.  That would explain the extreme clarity of the remix with some tracks at least two generations better than the mono master.  I think the remix shows as good as anything the evolutionary link between Early Beach Boys, Spector-influenced Brian productions, and the transition into Pet Sounds.  To me, WDFFIL remixed sounds a lot like something off Summer Days, the sound of the horns especially.  I think it sheds light on where Summer Days "came from" if that makes sense.

Anyway... 

Oh, and that "run out groove" special treat after "Girls on the Beach" is the most tantalizing...my god!
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« Reply #420 on: May 24, 2009, 01:29:21 PM »

yes we know can present an acapaella version of  the song with a single Brian lead....... same for Pom Pom Playgirl and In the Parkin Lot btw...
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« Reply #421 on: May 24, 2009, 01:32:53 PM »

Just wondering... you mention two different reels making up Why Do Fools Fall In Love... how many different reels were recovered from that gentleman who had them stashed away?
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« Reply #422 on: May 24, 2009, 02:56:44 PM »

Mark,

I read an article/interview about you and your studio (YPoM) on TapeOp where according to Larry Crane (and I may be wrong) is where you do all your work. Is this the studio that you have done ALL your Beach Boy work at? Or do the record companies have you mix stuff in other studios? (Specifically the Beach Boys mixes) Also, is the equipment list in your website always updated or is it outdated? Lastly, what toys have you played with recently that you really enjoy and always (or will always) use for your mixes/projects?

Thanks!
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« Reply #423 on: May 29, 2009, 05:09:54 PM »

Whether there's any more "Shut Down Vol.2" reels out there somewhere, do you believe that there are any further Beach Boys 1960's multitracks held privately by collectors?
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« Reply #424 on: May 29, 2009, 06:16:30 PM »

Whether there's any more "Shut Down Vol.2" reels out there somewhere, do you believe that there are any further Beach Boys 1960's multitracks held privately by collectors?

I don't honestly know. I hope there are  and if so, I would love to hear from those collectors so we could make the music available to everyone and do do without causing any "problems" for those with the tapes..... Mark
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