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614497 Posts in 24794 Topics by 3525 Members - Latest Member: sixtiesdoll August 21, 2017, 03:26:48 AM
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Author Topic: The Beach Boys - Love (fanmix album)  (Read 7209 times)
Nile
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« Reply #50 on: April 20, 2016, 02:07:14 PM »

Unfortunately Rab has left the board and he left behind an awesome Love mix. Well, I thought it was too short so I added some more to it and even removed some stuff that I didn't like. Here is my take on his Beach Boys Love Mix. I'm also working on an Alternate Today! album mix. I'll try to upload this to Youtube and Vimeo.

Vimeo:
https://vimeo.com/163175382







Tracklist:
1. Iím Waiting For Our Prayer (Intro)
2. Heroes and Villains
3. Fun, Fun, Fun
4. You Still Believe In Me (Vitamin String Quartet and Brian vocal)
4. I Just Wasnít Wonderful
5. Brianís Magic Transistor Radio
6. Til I Die
7. I Get Around
8. Then I Kissed Rhonda on a Honda
9. Wouldnít It Be Worms
10. Old Master Painter/You Are My Sunshine/Love To Say Da Da
11. Starchild
12. Wouldn't It Be Nice To Live Again
13. Good Vibrations (Outro)

Is it possible to get these mix with songs separated??
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Cool Cool Water
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« Reply #51 on: April 28, 2016, 01:52:47 PM »

Great job. It's cool when someone tries something different, fair play! LOL
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Seagull Merlin
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« Reply #52 on: April 03, 2017, 03:49:59 PM »

Okay I'm pulling this to the front because if someone else like me hasn't heard it they're in for an experience, this was superbly done and a delight to listen to. I can't recommend it enough
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Ziggy Stardust
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« Reply #53 on: April 03, 2017, 08:46:28 PM »

Hah, that's a projet i had in mind! but it stayed there, in my mind, as there's no way to really accomplish any of the ideas i had (such as Let Him Run Wild going onto Stevie, right after the "can't you know i waited for you girl" the chords and rythm picks up on the same as the start of Stevie, and why not adjust Good Vibrations verses instrumental behind the vocals and the keys of Stevie as it sounds quite similar enough i think?, now that's a triple big mix!)

However i would try to differentiate it more in the presentation of the concept, "Love" is based on a word Beatles overused and the sounds reminded of England with on the cover an symbolic recognizable photo of the group, if the exercice is mirrored on to the Beach Boys, i think we should as much use their history, i appreciate the cover is blue unlike the yellow orange of the Beatles one, but i feel the photos of the Beach Boys on it could be picken on somemore iconic ones, and maybe another title, as in Sun? (as it would reference both their early era and California culture, but also SMiLE symbolisms, elements?)

Also why so much use of Pet Sounds vocals, why not pick up more from Good Vibrations and Made In California boxset with its instrumental and acapella mixes?

As much as this project has weird ideas that don't work (like the Wonderful one or the Wouldn't It Be Worms) there's other where we can hear the amazing potential such as the Darlin' one, i'm not a fan at all to include Beatles in it (if Love doesn't have it, why the Beach Boys gets it? it makes them look secondary, under the shadows of that brits invasion, it's a shame) i LOVE how the Wendy bridge was put into it, blends perfectly!

Also missed opportunity on the mix of 'Til I Die to include more water oriented stuff, why not put the end of Don't Go Near, add some of the harmonies of Cool Cool Water maybe the chorus of Californ-i-a? etc

I think there should be a Love You medley also, with how coherent and moog oriented that is, there's a great potentiel there! same for early Beach Boys surf cuts.
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branaa09
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« Reply #54 on: April 04, 2017, 10:00:56 AM »

So I see Rab's LOVE Mix is coming back into the fold, well here's my remix of it. I removed some stuff and added my own mixes.
https://www.youtube.com/watch?v=pcsPPBR11zY&t=57s

Here's Rab's original from Vimeo.

https://vimeo.com/145226253
« Last Edit: April 04, 2017, 10:02:35 AM by branaa09 » Logged
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« Reply #55 on: April 04, 2017, 01:32:10 PM »

(Also Sweet Love/Sloop John B is pretty amazing !!!!)
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rab2591
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« Reply #56 on: April 05, 2017, 10:47:39 AM »

Hah, that's a projet i had in mind! but it stayed there, in my mind, as there's no way to really accomplish any of the ideas i had (such as Let Him Run Wild going onto Stevie, right after the "can't you know i waited for you girl" the chords and rythm picks up on the same as the start of Stevie, and why not adjust Good Vibrations verses instrumental behind the vocals and the keys of Stevie as it sounds quite similar enough i think?, now that's a triple big mix!)

However i would try to differentiate it more in the presentation of the concept, "Love" is based on a word Beatles overused and the sounds reminded of England with on the cover an symbolic recognizable photo of the group, if the exercice is mirrored on to the Beach Boys, i think we should as much use their history, i appreciate the cover is blue unlike the yellow orange of the Beatles one, but i feel the photos of the Beach Boys on it could be picken on somemore iconic ones, and maybe another title, as in Sun? (as it would reference both their early era and California culture, but also SMiLE symbolisms, elements?)

Also why so much use of Pet Sounds vocals, why not pick up more from Good Vibrations and Made In California boxset with its instrumental and acapella mixes?

As much as this project has weird ideas that don't work (like the Wonderful one or the Wouldn't It Be Worms) there's other where we can hear the amazing potential such as the Darlin' one, i'm not a fan at all to include Beatles in it (if Love doesn't have it, why the Beach Boys gets it? it makes them look secondary, under the shadows of that brits invasion, it's a shame) i LOVE how the Wendy bridge was put into it, blends perfectly!

Also missed opportunity on the mix of 'Til I Die to include more water oriented stuff, why not put the end of Don't Go Near, add some of the harmonies of Cool Cool Water maybe the chorus of Californ-i-a? etc

I think there should be a Love You medley also, with how coherent and moog oriented that is, there's a great potentiel there! same for early Beach Boys surf cuts.


Why don't you tell me what you really think? LOL

Hey, though this was a labor of love it wasn't something that I had been planning for years and wrote out ideas for ad nauseam. It was a project that took months of my time, and I'm really happy with how it turned out. It wasn't exclusively supposed to mirror the Beatles Love, I only compare it to that because of how the songs were mashed up in that album.

As for MiC I guess I couldn't find any way to mash the songs up - I spent literally countless hours tinkering with different mixes, I would put in an instrumental in one program, play it, and then go through all of my vocals only mixes to see what fit. Sometimes I would have to change the pitch of a track, or worse the timing and it was a painful process. Other than my, and hopefully other's, enjoyment, there was no incentive for me to find every possible mix that could work together. MiC had a lot of great stuff that could've worked in this mix, but I couldn't find matches in the time I allotted to make this.

As for the concept. It is a sonic adventure. It's not meant to be concretely based on their history or what they stereotypically represent. It is meant to be an imaginative adventure from the eyes of the music. The album art was supposed to be fun, I found some great shots of the Beach Boys jumping while they were in Paris and thought their silhouettes looked fun. As for the name, I thought it was a nice compliment to the Beatles version and it fit with how Brian feels about life: love was the centerpiece for much of his music and it just made sense to call this album full of his music by that name.

The Beatles inclusion was just a fun way to, again, connect this album to the album that inspired it. Brian always said he felt a friendly rivalry with the Beatles and both McCartney and Brian have the deepest and greatest respect for each other's work. I thought it was a fun and nice compliment to show how Brian and the Beatles were on a similar frequency when it came to melody, chords, and songwriting.

Til I Die doesn't include any other songs in it (besides the water sound effects from the psychedelic sounds boot) because I feel it is one of the most sacred songs Brian ever wrote. It is haunting, sonically distant in parts, and the lyrics are achingly real. I didn't want that song to lose it's meaning by mashing it up with other songs that were recorded more out of fun and not seriousness (though Don't Go Near The Water is a pretty serious song).

I would love to do a Love You medley, but the lack of boots (vocal only, backing tracks) makes this nearly impossible. That's also why there is an abundance of Pet Sounds tracks on this set: the amount of backing tracks and vocals only that were released for it (even including boots) far surpasses that of any other releases.

I really do appreciate the constructive criticisms, but I do hope that this post helps people understand how much work went into this album: literally countless hours of just listening and relistening to tracks, adjustments to pitch and timing of sections - sometimes I would start working mid-day and look up at the window and it would be night-time. I really really wish I had had access to more vocals only tracks, and backing tracks, for this album - but I worked with what I had and honestly this turned out 100% better than I thought it could when I first realized that an album could be possible.

I'm really glad you like certain tracks though, it means a lot that this album has mostly gotten positive reception.
« Last Edit: April 05, 2017, 10:48:48 AM by rab2591 » Logged

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Summer in Paradise. Sorry, I get as far as "way back when when the master plan was having Fun Fun Fun and America's band", and there's no way in hell I'm listening to the rest of it. Don't insult me telling me I'm missing anything.
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« Reply #57 on: April 05, 2017, 02:56:41 PM »

I did! just gave my two cents of critisism and thoughts from the top of my head haha Wink some stuff i legit appreciate and some where you can see as if we had access to the material how big the potential would be, and you tried! and that's more effort than i ever gave, so bravo to you! i can only imagine how tiem consuming it must have been! it's really cool overall and i can tell the hard work you put into i, thanks for the answer Smiley
« Last Edit: April 05, 2017, 03:19:11 PM by Ziggy Stardust » Logged
Marcella Wilson Love
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« Reply #58 on: April 05, 2017, 05:08:48 PM »

You're. Fruckn legend mate. This is amazing
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Ang Jones
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« Reply #59 on: April 08, 2017, 04:12:37 AM »

I'm only sorry that it took me so long to find out about it (for which I have no-one to blame but myself).

Amazing. I love it.
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orange22
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« Reply #60 on: April 09, 2017, 10:03:35 AM »

Spurred on by the recent posts, I re-listened to this last night. Can't believe I never posted anything before, but this is so well done. Technically, creatively, scope; every aspect is appealing. Even within the few mashup melodies that don't work on every note- when those melodies DO work for the majority of the time, they are so appealing that the blemishes become a sign of humanity, and not so dissimilar from perhaps a stray cough left in the final mix of a song.

rab, following from the other thread- I'm not familiar with Logic, and Ableton user primarily myself. Did you just use stock pitch/time shifting in Logic? Any special tweaks? I suppose the biggest factor is always keeping adjustments as minimal as possible, but your work sounds pretty clean and natural.
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rab2591
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« Reply #61 on: April 10, 2017, 03:17:26 PM »

Thanks all! I truly appreciate it.

@orange22, the time-shifting was done partially with a feature in Logic called time-flex. You select the track you want to shift the audio in, then a zoomed in image of the audio waves show up and you use your curser to flex the audio wave where you want it (it stretches a small section of audio). Another way to time-shift large tracks in Logic is to select the area you want to maximize or minimize the time in, and there's a button to stretch the time to a specific chosen place. I think I used this latter feature the most in the 'You Still Believe In Me' mashup - the vitamin string quartet had a separate time than Brian's original, and I had to change the time of every section of the vocals-only track.

Logic is just a real solid program that allows the layperson to do incredible things that sound near or at professional levels (not that my album here sounded professional, but so many people have cranked out some professional sounding recordings with this program).

That being said, the pitch shifting tool seems, to me, really lackluster. There are many digital artifacts that can be heard in my mix... But this is most likely due to me using primarily MP3s as a source. I'd bet that had I used FLAC for my source material the digital artifacts wouldn't be as big an issue.

Can you tell me more about Ableton? I just looked into it for a few minutes and it looks like a great program. Though after being so invested in Logic I can't see myself switching programs, but I'd still like to know if Ableton is worth looking into further. Thanks for the kind comments about my mix!
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Summer in Paradise. Sorry, I get as far as "way back when when the master plan was having Fun Fun Fun and America's band", and there's no way in hell I'm listening to the rest of it. Don't insult me telling me I'm missing anything.
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« Reply #62 on: April 15, 2017, 10:55:41 AM »

Hey there rab. Regarding the pitch/time shifting, that's interesting since, though I was last listening to your project just before bed so wasn't in the most technical of minds, I didn't notice the artifacts too much. No doubt the use of lossy audio sources would have contributed to it. And of course we're our own worst critics, but I thought it was more than well-enough done within the scope of a "non-professional" project, if you get what I mean without being an insult in any way!

I've heard a lot of great stuff about Logic, but I'm on PC so can't use it. Ableton Live is a great program, really intuitive in a lot of ways, probably similar to Logic (and Apple in general) in that way. Live gets a lot of use in, if you can believe it, live situations by bands, DJs, etc. Largely because time and pitch shifting can be done very easily and quickly, but it also has a lot of options and tweakability; I haven't explored the options, but there might even be plugins that can do the job better. if that's a concern for you I'm a bit behind the times myself, and I've heard about other DAWs taking overtaking Live in terms of newer features. It's so painful switching to a new program, and though Live still gets the job done, I fear the time may be coming for a switch! From what I know though Logic is great like I said, and you'd probably only want to look towards Live for a performance situation.

Are you working on any other BB (or other) related projects? Anyone else reading too, would love to hear about BB music projects in process. I have something of a Pet Sounds mashup type thing that's been ongoing for several years; unfortunately will take a lot of rework since I actually started it using a different DAW (Sonar) and a bunch of outdated synth plugins.
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rab2591
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« Reply #63 on: April 15, 2017, 11:54:10 AM »

Hey there rab. Regarding the pitch/time shifting, that's interesting since, though I was last listening to your project just before bed so wasn't in the most technical of minds, I didn't notice the artifacts too much. No doubt the use of lossy audio sources would have contributed to it. And of course we're our own worst critics, but I thought it was more than well-enough done within the scope of a "non-professional" project, if you get what I mean without being an insult in any way!

I've heard a lot of great stuff about Logic, but I'm on PC so can't use it. Ableton Live is a great program, really intuitive in a lot of ways, probably similar to Logic (and Apple in general) in that way. Live gets a lot of use in, if you can believe it, live situations by bands, DJs, etc. Largely because time and pitch shifting can be done very easily and quickly, but it also has a lot of options and tweakability; I haven't explored the options, but there might even be plugins that can do the job better. if that's a concern for you I'm a bit behind the times myself, and I've heard about other DAWs taking overtaking Live in terms of newer features. It's so painful switching to a new program, and though Live still gets the job done, I fear the time may be coming for a switch! From what I know though Logic is great like I said, and you'd probably only want to look towards Live for a performance situation.

Are you working on any other BB (or other) related projects? Anyone else reading too, would love to hear about BB music projects in process. I have something of a Pet Sounds mashup type thing that's been ongoing for several years; unfortunately will take a lot of rework since I actually started it using a different DAW (Sonar) and a bunch of outdated synth plugins.

No, haha I totally get what you mean by non-profressional project...and I take your statement as a compliment. I really wish I had more experience with stuff like this, but this was a great way to get my toes wet. As for music programs, in recent years I've been thinking about getting a PC. I am strictly entrenched in Apple's ecosystem, but there are things I love about PC and besides a few quirks I like where Windows is taking their operating system. So Ableton could be a nice thing to put on a laptop for travel use sometime in the future.

As for other BB projects, I have a lot of mixes already done for a Love: Redux album. I have some ideas for how to assemble it all. Sadly it's just going to take a lot of time getting it all together. I want to add at least 10 minutes to the album and hopefully I can have it done within the next half year (really hopefully sooner).

Thanks for your reply, and I really hope you get a chance to finish up your Pet Sounds mashup - can you tell me more about it? (I promise not to steal any ideas!) - I totally understand if you'd rather not though.
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Bill Tobelman's SMiLE site

Summer in Paradise. Sorry, I get as far as "way back when when the master plan was having Fun Fun Fun and America's band", and there's no way in hell I'm listening to the rest of it. Don't insult me telling me I'm missing anything.
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« Reply #64 on: April 16, 2017, 08:51:32 AM »

I absolutely loved it! Thanks so much for posting the link.
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orange22
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« Reply #65 on: April 29, 2017, 08:38:07 AM »

As for other BB projects, I have a lot of mixes already done for a Love: Redux album. I have some ideas for how to assemble it all. Sadly it's just going to take a lot of time getting it all together. I want to add at least 10 minutes to the album and hopefully I can have it done within the next half year (really hopefully sooner).

Thanks for your reply, and I really hope you get a chance to finish up your Pet Sounds mashup - can you tell me more about it? (I promise not to steal any ideas!) - I totally understand if you'd rather not though.

That sounds great. I've gotten caught up in starting but not finishing songs, and you really need a plan, which it sounds like you have.

The mashup thing isn't a big deal, it's just an 8-bit rendition with a few twists. The main issue being that the rest of the work is more on the technical and tidying up side; the fun musical side is all done, so it's not terribly compelling at the moment!
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« Reply #66 on: April 29, 2017, 11:04:48 PM »


Hi rab2591, I made my mix a few years ago. although it may not fit your concept...

Here is
Wind Chimes/Don't Talk https://youtu.be/EKbYIN3OHVI

Hope to enjoy and I would appreciate any comments about this track.
Thank you.
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