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Author Topic: The Mark Linett Thread  (Read 244430 times)
Bean Bag
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« Reply #300 on: August 30, 2006, 10:55:12 AM »

He...he...guess we'll have to buy the 50th Annv Edition with remastered Linear Notes!!

 Smokin

Well...I guess I'm sold.  A closer to the source remaster is too good to pass up on.  There's only a few albums that I'd do this for, anyway.  Okay, maybe quite a few.  It doesn't hurt to have an extra pressing of the DVD-Audio version either.

So is the sound improvement as good as Coltane's "Love Supreme" source upgrade?  I don't care one bit for the 2001 mono...too thin and harsh.  My fav' is the Box Set single disc -- 13 trax, that's it.  Either way, I'm sure I'll diggit.

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« Reply #301 on: August 30, 2006, 12:51:44 PM »

Hey Mark, are your ears burning? 

Read what they have been saying about the new PS over on the Steve Hoffman boards:

http://www.stevehoffman.tv/forums/showthread.php?t=89675
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Cal
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« Reply #302 on: August 30, 2006, 01:19:50 PM »

I just posted this on the PS remaster thread but it's relavant to the last posting...

I've never ever read a posting on the Hoffman board where someone likes a cd other
than a Hoffman remaster! I think they're all a bit prejudiced and one sided over there--
and I can't be swayed 'cause they think Hoffman remasters are the work of  G-d. For
me that board is not fair and balanced.

Regards,
Cal
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« Reply #303 on: August 30, 2006, 09:44:55 PM »

Hi Mark - here's a rewritten observation from the Pet Sounds remaster opinion thread below, which I edited to cross-post here so you might be able to shed some light if you care to:

On both the new mono and stereo LPs, the high end appears to have been rolled off just a tiny bit compared to the HDCD-decoded CD.  That's not your doing, I assume you gave Capitol a clean analog LP-cutting master dubbed straight from the hard drive, as you did with BWPS.   My vote would be it's the doing of the lacquer cutter.  Not enough to offend but enough to notice if you're doing the critical A-B like I was.  Otherwise the basic sound of both LPs was satisfactory, and the roll-off will certainly blow past most listeners.  But that's what I'm hearing, tell me if I'm off base.

But the big query is this: The new stereo LP is supposed to match the 2000 version, right?  Well --  and here's the kicker - THE SPEED IS OFF - maybe a fraction of a percent SLOWED DOWN.  I know it's not my Thorens turntable (it has a stroboscope and it's running exactly at 33.33 rpm), and as I did the A-B headphone comparison, the "time gap" widened as it played.   And this only occurs with the stereo LP.  When I did this A-B with the mono program, the speed on the mono LP matched up with the CD, no pitch-shift or time error was noticeable.   I know you had nothing to do with the LP cutting itself so this remark is in no way a criticism.  But do you think: could the lacquer cutter have been just the slightest bit off speed?

Did anyone else notice any of this?   Or am I off in the stratosphere?  If you or others confirm these observations, do you have any idea how it might have happened?   Thanks again.  Incidentally, also, thanks again for all the terrific restoration/remixing/recording you've done, both on this project and over the years with the BB and BW.
« Last Edit: August 31, 2006, 09:02:10 AM by Dr. Tim » Logged

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« Reply #304 on: September 01, 2006, 11:08:36 AM »

Hi Mark - here's a rewritten observation from the Pet Sounds remaster opinion thread below, which I edited to cross-post here so you might be able to shed some light if you care to:

On both the new mono and stereo LPs, the high end appears to have been rolled off just a tiny bit compared to the HDCD-decoded CD.  That's not your doing, I assume you gave Capitol a clean analog LP-cutting master dubbed straight from the hard drive, as you did with BWPS.   My vote would be it's the doing of the lacquer cutter.  Not enough to offend but enough to notice if you're doing the critical A-B like I was.  Otherwise the basic sound of both LPs was satisfactory, and the roll-off will certainly blow past most listeners.  But that's what I'm hearing, tell me if I'm off base.

But the big query is this: The new stereo LP is supposed to match the 2000 version, right?  Well --  and here's the kicker - THE SPEED IS OFF - maybe a fraction of a percent SLOWED DOWN.  I know it's not my Thorens turntable (it has a stroboscope and it's running exactly at 33.33 rpm), and as I did the A-B headphone comparison, the "time gap" widened as it played.   And this only occurs with the stereo LP.  When I did this A-B with the mono program, the speed on the mono LP matched up with the CD, no pitch-shift or time error was noticeable.   I know you had nothing to do with the LP cutting itself so this remark is in no way a criticism.  But do you think: could the lacquer cutter have been just the slightest bit off speed?

Did anyone else notice any of this?   Or am I off in the stratosphere?  If you or others confirm these observations, do you have any idea how it might have happened?   Thanks again.  Incidentally, also, thanks again for all the terrific restoration/remixing/recording you've done, both on this project and over the years with the BB and BW.

The gaps between the songs on the new stereo version are slightly  difft. so I'm wondering if that's why you're noticing a time drift over the course of the lp. Are you hearing an obvious pitch diff. between the lp and the 2000 CD ? 

Let me know........

As to the slightly less hi end on the lp, that's vinyl for you plus it is colored vinyl  which is a bit lower "fi" than  audiophile 180 gram vinyl.

Mark
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« Reply #305 on: September 01, 2006, 11:09:24 AM »

Hey Mark, are your ears burning? 

Read what they have been saying about the new PS over on the Steve Hoffman boards:

http://www.stevehoffman.tv/forums/showthread.php?t=89675

The entire thread has been removed for some reason.
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« Reply #306 on: September 01, 2006, 08:23:14 PM »

Hi Mark - here's my edited reply, just checked it again.  This time the LP and CD match up fine speed-wise, both stereo and mono.  Yesterday I heard an audible pitch change, perhaps an eighth tone or so.   But this time, it was OK.  Very strange, since on both occasions I had both the LP and CD playing together as closely as possible, and did an A-B with Grado headphones, checking the strobe on the turntable much more closely  to be sure it wasn't the culprit.   Well, good, that's fixed, I eat some crow, you get to sleep more soundly.  Maybe the whole thing was an audio illusion on my part?  (that's a loaded phrase but I'm not using it in that clinical sense).   Otherwise the pressings are quite good but those are the things an audio nerd like me notices. The roll-off isn't a big deal but it was a wee surprise given that the vinyl of SMiLE compares so very favorably with the HDCD, that was a hell of a mastering job (plus it was an audiophile pressing).  Thanks for the response on the rest of my post.
« Last Edit: September 01, 2006, 09:34:05 PM by Dr. Tim » Logged

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« Reply #307 on: September 11, 2006, 05:26:25 AM »

I've occsaionally found that SMiLE LP seems to run slow...and other occasions it does not.

Any time I run a strobe disc on my Systemdek it checks out at 33 1/3 rpm...so it is either my ears or I have in intermittent fault. The strange thing is that I've never noticed this with any other LPs.


But I am still waiting for Amazon to send me my new Pet Sounds LPs....then I can compare with the DVD-A.

What Mark said about coloured vinyl is 100% accurate. While it looks funky it doesn't perform quite as well as the audiophile black stuff. Tends to be noisier (or perhaps just promotes transmission of motor noise more than black vinyl) and the high end isn't quite as good.
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« Reply #308 on: September 11, 2006, 07:43:27 AM »

Hi Mark - here's my edited reply, just checked it again.  This time the LP and CD match up fine speed-wise, both stereo and mono.  Yesterday I heard an audible pitch change, perhaps an eighth tone or so.   But this time, it was OK.  Very strange, since on both occasions I had both the LP and CD playing together as closely as possible, and did an A-B with Grado headphones, checking the strobe on the turntable much more closely  to be sure it wasn't the culprit.   Well, good, that's fixed, I eat some crow, you get to sleep more soundly.  Maybe the whole thing was an audio illusion on my part?  (that's a loaded phrase but I'm not using it in that clinical sense).   Otherwise the pressings are quite good but those are the things an audio nerd like me notices. The roll-off isn't a big deal but it was a wee surprise given that the vinyl of SMiLE compares so very favorably with the HDCD, that was a hell of a mastering job (plus it was an audiophile pressing).  Thanks for the response on the rest of my post.

Thanks for the update. I doubt the disc is at fault since that big a speed shift would be noticeable even without comparing it to the CD and it would have been unlikely to get past the mastering engineer and myself.

As to the comparison to the SMile disc I would put the quality down to SMILE being on 180 gram black vinyl and the great pressing job RTI did. We originally had the discs done at another pressing plant and the results were so inferior thta after three tries we switched to RTI. I gather the European pressing doesn't sound quite as good another indiaction of how much the vinyl and the pressing matter. Superb job on the mastering as well.

I think the colored vinyl came out very well especially considering the limitations of color vs 180 gram black. Still lobbying for an audiophile pressing, so we'll see.
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« Reply #309 on: September 11, 2006, 10:55:20 AM »

To back up Mark, I own the US and European pressings of SMiLE and the whole American package is superior...from the quality of the gatefold cover to the pressing of the LP itself.

Sometimes when reading comments on various boards about things that can and cannot be heard on various recordings I do wonder what equipment people are listening with...you simply cannot compare a computer drive and sound card to even a half-decent hi-fi setup.

For a new, truly high quality LP (packaging and record itself)...try Dave Gilmour's "On An Island"...
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« Reply #310 on: September 11, 2006, 11:40:54 PM »

Mark --

I was lucky enough to listen to your SMiLE mix on the equipment it was mastered with by Don Grossinger. THAT was an experience I'll never forget. Needless to say no amount of audiophile equipment could replicate those conditions, but hearing like that was just beautiful.
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« Reply #311 on: September 20, 2006, 06:30:44 PM »

Mark,
When you worked on putting together the excellent Good Vibrations stereo instrumental mix on the new cd single, did you take a crack at synching-up the original mono single, just to see what would happen? If so, how did it sound? Could such a mix ever find commercial release?
Paul R.
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« Reply #312 on: September 20, 2006, 06:35:04 PM »

Mark,
When you worked on putting together the excellent Good Vibrations stereo instrumental mix on the new cd single, did you take a crack at synching-up the original mono single, just to see what would happen? If so, how did it sound? Could such a mix ever find commercial release?
Paul R.

No we didn't try that since it was decided that a mix with a stereo track and mono vocals was not something we wanted on the CD. Without the original 8 track master no mix can be made with the vocals spread in stereo ..... Mark
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« Reply #313 on: September 25, 2006, 03:26:26 AM »

Mark, one thing confuses me a lot about BWPS: were the tool-sounds on "Workshop" newly recorded, or were they taken from the old sessions in the 60s? I always thought they were the only old recording on BWPS. But yesterday I re-watched the bonus-stuff on the DVD about the studio-recording and noticed that Brian says something like "Now Workshop...you all got your toys?". So, are they old or new?

P.S. If they are old, why didn't you re-record it like the rest of the album?
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« Reply #314 on: September 25, 2006, 04:43:20 AM »

I'm sure Mark knows best, but I have certainly read that the workshop sounds are re-recorded anew...but to sound as much like the 60's recordings as possible.
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« Reply #315 on: January 24, 2007, 08:06:48 PM »

Dear Mr. Linett:

If you already answered this question somewhere else in this thread or on this board, I apologize ... but I recently finished reading the latest Brian Wilson biography "Catch A Wave" and the detailed sections concerning "Smile" intrigued me yet again.

So I have to ask - do you know the status of or any plan by Capitol Records (or any other label) to release a boxed set of the Smile sessions?  With Brian's release of the re-recorded Smile and, perhaps more tellingly, the existence of the Sea of Tunes bootleg versions of the Smile sessions - it seems obvious that a version of the album existed that was pretty close to being completed.  Or at least enough of the tracks and backing tracks were finished to compile into a boxed set - a la the "Pet Sounds" box.

I know the seemingly never-ending litigation between existing BB members probably makes the eventual release of such a set just a fantasy, but I think it's something we'd all like to see come true.  Can you shed any light on that possiblity?
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« Reply #316 on: January 24, 2007, 08:18:36 PM »

Dear Mr. Linett:

So I have to ask - do you know the status of or any plan by Capitol Records (or any other label) to release a boxed set of the Smile sessions?  With Brian's release of the re-recorded Smile and, perhaps more tellingly, the existence of the Sea of Tunes bootleg versions of the Smile sessions - it seems obvious that a version of the album existed that was pretty close to being completed.  Or at least enough of the tracks and backing tracks were finished to compile into a boxed set - a la the "Pet Sounds" box.



I would never say never, but at the moment there are no plans to release the 66 Smile sessions.  And since many of the vocals and some of the tracks for the album were never completed or recorded  no complete album could really be presented. A box set of the sessions would be possible of course, but we'll just have to wait and see what the future brings.... Mark
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« Reply #317 on: January 29, 2007, 12:46:50 PM »

I would never say never, but at the moment there are no plans to release the 66 Smile sessions.  And since many of the vocals and some of the tracks for the album were never completed or recorded  no complete album could really be presented. A box set of the sessions would be possible of course, but we'll just have to wait and see what the future brings.... Mark

I was secretly hoping that 07 was the year for a 40th anniversary Smile boxset release so I find this news particularly disappointing! I can't believe recordings as beautiful as Child is Father To The Man have still not seen an official release, especially since the exposure Smile got in 04. This is just too sad.
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« Reply #318 on: March 12, 2007, 09:07:10 AM »

Hi Mark,

I have been listening to "What Love Can Do" quite a bit lately, and I think it's a great sounding track.  I was wondering if you could answer a few questions that I have about the recording.  When I first heard the track, I played it on my computer at work, as that was my first opportunity to listen.  When I listened to it the first few times, it sounded like someone besides Brian was doubling Brian's lead vocal, and there were some spots where I thought I could hear the doubled voice louder than Brian's in the mix.  No one else seemed to hear this, and I began to doubt my ears.  Well, as it turns out, the mini plug from my speakers was not plugged in all the way and I was hearing only the left channel out of both speakers.  After plugging the thing in all the way, and hearing both channels, I couldn't hear the "doubled" voice as loudly as before, but I still seem to hear another voice.  Is someone besides Brian doubling the lead?  Also, the credits list Paul Von Mertins as the arranger.  Did he do the string arrangements, as well?  Very nice stuff.  The vocal arrangement is also really great.  It sounds very much like a cross between Richard Carpenter, Burt Bacharach, and Brian Wilson vocal arrangement styles.  Did Brian arrange any or all of the vocals?  Just curious.  Brian's voice hasn't sounded so sweet in a long time.  Did he and Burt write/record any other tunes?  Again, nice job, Mark.  I'm looking forward to hearing those new stereo mixes on the Warmth Of The Sun comp. 
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« Reply #319 on: March 12, 2007, 02:25:00 PM »

It was my impression that Paul only arranged the strings and that Brian arranged the song. Brian certainly arranged the vocals.  I haven't heard the final mix, but  Brian doubled the lead . I don't know if he and Burt wrote any other songs.

Mark
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« Reply #320 on: March 13, 2007, 03:19:30 AM »

Thanks so much, Mr. Linett, for your reply.  The more I play this song, the more I like it.
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« Reply #321 on: March 31, 2007, 12:31:02 PM »

Hey Mark --

I have an advance of the album and the new mixes sound fantastic. Question: Was there a specific reason why "The Little Girl That I Once Knew" wasn't remixed for stereo? To me, it's the only real dissapointment on the set. The song is BEGGING for a remix.

Keep up the good work,

Howie
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« Reply #322 on: March 31, 2007, 01:56:54 PM »

Thanks for the positive review. We don't have the multi-tracks for  "the Little Girl I Once Knew" so no remix was possible.
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« Reply #323 on: March 31, 2007, 02:35:43 PM »

Wow. I never knew that those were among the missing. What a shame. I'm curious if there was a definitive "new" mix made of "Wouldn't It Be Nice To Live Again," as it was among the tracks (early on) being considered for the project.

By the way, I'm looking forward to the new 'Berries CD/DVD.

Howie
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« Reply #324 on: March 31, 2007, 05:07:29 PM »

Greetings Mark....On behalf of all of us Beach Boys fans, THANX!!! I have to say that the H&V sections from the Box set is true music to my ears. Job Well Done. We also thank you for being kind enough to answer some of our questions here on the thread.

Speaking of, I have a question for you. On some of the stereo remixes of the BB songs the bass is pushed heavily to the left channel. Why is that? Two come to mind, Let The Wind Blow and Let's Go Away For Awhile. I listen to through my headphones all day at work, and I had to replace the stereo mixes with the mono's of these two because the bass was driving me nuts coming too heavily out of one channel. (Being a bass player, it's just one of those things that get to me...!)
 
No big deal, but any insights into this would be appreciated.
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