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Author Topic: The Mark Linett Thread  (Read 244428 times)
SMiLEY
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« Reply #150 on: February 17, 2006, 08:36:35 PM »

Mark--

Are there any plans to mix the Christmas songs for 5.1? I'd love to see a hi-rez or dvd release of this stuff!!!
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Jeff Mason
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« Reply #151 on: February 17, 2006, 08:46:32 PM »

If the finished version of Surf's Up, ready to go minus manufacturing, isn't getting released, why should we think that any money will be spent to make new 5.1 mixes of anything else any time soon....?
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« Reply #152 on: February 17, 2006, 08:56:40 PM »

If the finished version of Surf's Up, ready to go minus manufacturing, isn't getting released, why should we think that any money will be spent to make new 5.1 mixes of anything else any time soon....?

The two things aren't connected being difft labels and all, but there aren't any plans for the christmas album to be mixed in surround anytime soon.
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« Reply #153 on: February 17, 2006, 09:40:23 PM »


The two things aren't connected being difft labels and all, but there aren't any plans for the christmas album to be mixed in surround anytime soon.

And if it was, it would probably have to be released during a very specific time of year...

C-Man
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« Reply #154 on: February 17, 2006, 09:43:16 PM »


The two things aren't connected being difft labels and all, but there aren't any plans for the christmas album to be mixed in surround anytime soon.

And if it was, it would probably have to be released during a very specific time of year...

C-Man

If it says "Beach Boys" on the cover, those in the label's marketing department would immediately say "Summer!" and once again earn their pay for that week. Grin
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« Reply #155 on: February 17, 2006, 09:45:03 PM »

Hey, maybe that's why Smile was delayed?  January vs. the summer? 

 :D Grin
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« Reply #156 on: February 18, 2006, 08:32:30 AM »

Mark: The Chit chat on the original mono "Here Today" was left off the stereo mix...why is that? I was so used to it that it became "part" of the charm of the record.
If I am wrong, Mark can correct me, but I read that it was left off at Brian's request.

You're correct and this is discussed in the liner notes. The talking (like the cough heard in the solo of the stereo mix of Wendy) was a mistake, so Brian wanted it removed when we made the stereo mix. If you have the boxset, however, the talking is on the end of one of the discs as a "ghost" track..... Mark


*EDIT*..thanks Andreas!



Mark, by chance, do you know the correct spelling of those Spanish lyrics in IJWMFTT that follow the Here Today talking?
« Last Edit: February 18, 2006, 10:53:08 AM by andy » Logged
Andreas
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« Reply #157 on: February 18, 2006, 10:36:35 AM »

Mark, by chance, do you know the correct spelling of those Spanish lyrics in IJWMFTT that follow the Here Today talking?
Cuando será? Un día será.

(When will it be? One day it will be.)
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« Reply #158 on: February 18, 2006, 10:56:16 AM »


The two things aren't connected being difft labels and all, but there aren't any plans for the christmas album to be mixed in surround anytime soon.

And if it was, it would probably have to be released during a very specific time of year...

C-Man

Yes but mixing is done many moons ahead of the release schedule.

Thanks, Mark. I really think a dvd would make a perfect follow-up release for Christmas 2006. Maybe the powers-that-be will think of it!!!
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« Reply #159 on: February 18, 2006, 06:03:35 PM »

Sorry if this has been asked before Mark...but what is the next BB project that is likely to be released?
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Mark Kidd
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« Reply #160 on: February 18, 2006, 07:39:04 PM »

I don't have much background in sound engineering, so this may be too obvious. Sorry, if so.

I have been wondering if there was use of EQ during the production of any of the Beach Boys albums in the 60s. I know it's a common technique today in order to help give instruments and voices a little more of their own space or to cut out discordant sounds, but did Brian ever use any in the studio back then? It seems like I can definitely hear that use of EQ in Brian Wilson Presents SMiLE -- do you use EQ on individual tracks when reissuing the back catalog?
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« Reply #161 on: February 19, 2006, 05:32:42 AM »

As far as I know, the only EQ Brian would have had available until the very late 60s would have been the console channel EQ, which for the most part was a three band shelving-type, often with a switchable mid setting.  I don't remember the exact frequencies covered, but I believe there was about +-6 db for each pot, Low, Mid, and High.

I don't know when outboard EQs became more useful, probably at the dawn of 16-track.

Either way, from what I've read in interviews with people like Larry Levine at Gold Star and Bruce Botnick at Sunset, they'd work with mic placement extensively before they'd resort to EQ.
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« Reply #162 on: February 19, 2006, 06:26:58 AM »

I don't have much background in sound engineering, so this may be too obvious. Sorry, if so.

I have been wondering if there was use of EQ during the production of any of the Beach Boys albums in the 60s. I know it's a common technique today in order to help give instruments and voices a little more of their own space or to cut out discordant sounds, but did Brian ever use any in the studio back then? It seems like I can definitely hear that use of EQ in Brian Wilson Presents SMiLE -- do you use EQ on individual tracks when reissuing the back catalog?

And, of coure, EQing in the '60s was not the same as today, because you only had 3 or 4 tracks initially, later 8, so if things were EQ'd separately, it had to be done while the song was being recorded.  Some more could be added during the final mix, but then it would affect the entire mix instead of that one instrument or voice.  Today, of course, everything is isolated on its own track, so each individual thing can be EQ'd after the fact during mixdown.

C-Man
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Andreas
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« Reply #163 on: February 19, 2006, 06:37:57 AM »

Don't forget compression. Especially the mono mixes received a lot of compression in the 1960s, which gives them their unique "punch" and "immediacy", but also reduces the dynamic range and "depth" of a mix.
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« Reply #164 on: February 19, 2006, 07:45:11 AM »

Which is why many songs from that time period sound like shite on cd compared to vinyl. I remember an interview with Brian where he was bitching about that. I think it was with Paul Williams.
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« Reply #165 on: February 19, 2006, 09:41:06 AM »

Which is why many songs from that time period sound like merdae on cd compared to vinyl. I remember an interview with Brian where he was bitching about that. I think it was with Paul Williams.

Don't really see the connection. The master mixes are eqd and sometimes compressed for both vinyl and CD. The diff. between CD and vinyl is both objective and subjective imo. CD is more accurate up to a point and vinyl is a more colored sound but in a pleasant way.  And yes in theory vinyl may have a higher frequency response than a CD, but the overall diff. is in the medium, vinyl with its RIAA playback curve and CD w/ the somewhat limited 4.1 k/ 16 bit bandwidth.

Its interesting to note the preferance many have for BWPS on vinyl vs CD since the same mastering was used for both albeit the vinyl was cut from an analog tape copy of the hi res (88.2 24 bit) eqd master. It would be great if we ever get to issue the record on a DVD-A at 88.2 and see what the listener's think
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« Reply #166 on: February 19, 2006, 10:41:22 AM »

It'd be interesting to know what other mastering was done for the vinyl version of BWPS. Maybe limiting? I can see how this may affect some people's perception. It's a very "dynamic" sounding album, a bit too much for me.
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« Reply #167 on: February 19, 2006, 11:06:19 AM »

It'd be interesting to know what other mastering was done for the vinyl version of BWPS. Maybe limiting? I can see how this may affect some people's perception. It's a very "dynamic" sounding album, a bit too much for me.

Dynamics are a big part of the record. Nothing extra was done for the vinyl. The eqd 88.2 digital master was transferred to 15 ips 1/4" tape using the CCIR curve and the discs were cut flat from that tape.
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Andreas
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« Reply #168 on: February 19, 2006, 11:16:00 PM »

Which is why many songs from that time period sound like merdae on cd compared to vinyl.
No. The compression is part of the mix and therefore also present on the CD.
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« Reply #169 on: February 20, 2006, 08:24:31 AM »

Which is why many songs from that time period sound like merdae on cd compared to vinyl.
No. The compression is part of the mix and therefore also present on the CD.

Yes and no. If you are talking about the CD reissue of an album originally presented on vinyl the amount of compression added during mastering might be entirely difft. but in most cases it would be a similar amount and a similar sound. In terms of BWPS cthe amount of compression and eq is exactly the same on the vinyl as on the CD.
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« Reply #170 on: February 20, 2006, 07:23:35 PM »

Quote
If you are talking about the CD reissue of an album originally presented on vinyl the amount of compression added during mastering might be entirely difft.

That is what was I referring too. Some of the Motown stuff sounds noticeably different.
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« Reply #171 on: February 21, 2006, 10:16:24 PM »


The eqd 88.2 digital master was transferred to 15 ips 1/4" tape using the CCIR curve and the discs were cut flat from that tape.

I'm confused.  I thought the CCIR curve was used more in Europe than here.  I know of a studio that recently began using CCIR rather than NAB.  Why the switch?  Also, do you recall what kind of 1/4" stock was used?  Emtec?  Quantegy?

Equipment heads like me want to know. Smiley Thanks, Mark!

Dan
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yrplace
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« Reply #172 on: February 21, 2006, 10:26:26 PM »


The eqd 88.2 digital master was transferred to 15 ips 1/4" tape using the CCIR curve and the discs were cut flat from that tape.

I'm confused.  I thought the CCIR curve was used more in Europe than here.  I know of a studio that recently began using CCIR rather than NAB.  Why the switch?  Also, do you recall what kind of 1/4" stock was used?  Emtec?  Quantegy?

Equipment heads like me want to know. Smiley Thanks, Mark!

Dan

CCIR is tape eq curve used originally in Europe. It only applies to 15 ips but the curve is much gentler than the US NAB curve . I've been using it for years and to me it outshines even 30 ips 1/2" NAB. I love Basf (Emtec) 911 tape which sadly no longer exists. I think for the SMile xfrs we used Emtec 900.

Mark
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« Reply #173 on: February 22, 2006, 04:01:35 PM »

Mark, have you ever heard any talk or speculation of somebody putting out an outboard box with a nice set of sampled reverbs?  Or is the disparity between the plug-in market and the outboard effect market to great?  I'm going to be getting away from DAW use, and of course I'd rather be pumping my vocals through one of Hollywood's classic chambers, but a "sampled reverb box" would be mighty handy.  And I bet a lot of people would prefer that kind of thing over a Lexicon or something.
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« Reply #174 on: March 04, 2006, 02:14:17 PM »

Mark, the basic track for "Don't Talk" is mono, correct?  So with the addition of the string overdub, and the two lead vocals, is Don't Talk completely contained on one four-track tape?

If so, why do you suppose Brian chose to cut the basic in mono?  Did he realize that since the instrumentation was relatively sparse and controllable in mono, he could save a tape generation by keeping everything on one tape?
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