Pet Sounds - lineage

[petsite]

I had put this post up earlier on Steve Hoffman's website  and have been asked to repost it here. This (to the best of my knowledge is the lineage of the various Pet Sounds master tapes used for the various releases.

1966 - Brian prepares the final mixdown for PS. The album was mastered at Capitol, minus Brian Wilson, per the late John Kraus. Though notes say Brian was not in attendance, Brian and Fred Vail (ex-Beach Boys concert promoter and family friend) were there, sitting on the floor of the mastering studio shoulder to shoulder listening to the LP (Fred for the first time). After the LP was mastered, Brian turned to Fred and asked:

"What do you think of it?"
"Brian, it's the best work you have ever done!"
"Fred, what do you think the guys (Beach Boys) will think of it?"

Vail does not give a response. Brian had one or two acetates cut of the LP. Marilyn Wilson talks about Brian bringing it home and them playing it and crying all night listening to it.

The master was then copied on 4/7/66 with a protection master made for both NYC offices of Capitol and one for the LA vaults.

As per their (then) procedures, when Wouldn't It Be Nice was pulled from the LP as a single, the track was excised from the master LP reel, and stored on separate single reel and a copy was spliced back onto the LP master. But, from time to time, Capitol would replace the mono copy on an LP master with a duophonic copy. They did this would WIBN (although it is not know when they did this).

1972 - The master tape is shipped to Warner for release as part of the twofer Carl & The Passions / Pet Sounds.

1987 - During the final mixing of Brian's solo LP, the PS master 8-tracks are delivered to the studio he is working at along with the mono master (the one with the duophonic WIBN and part of Caroline No missing). Around this time, pre-mastering for a CD release of PS is done with a flat transfer to U1630 PCM tape. This tape will form the basis of the PS CD release.

With WIBN being duophonic on the LP master, a search was made of the Capitol Vaults for both the single reel of WIBN or the LA protection master of PS. Neither could be located. Someone at Cap (probably one of their vault librarians) found out about the NYC master and sent for it. WIBN was pulled from this reel for release on the CD.

The CD was mastered using the standard practice of NO-NOISE as the directive to take the hiss out was high on the agenda of label execs. I remember reading about this very fact in an issue of Billboard at the time.

Christmas 1991 - Steve prepares the DCC version of PS. He is messenger-ed the original master and the NYC protection copy for his use (though I am unclear if he actually received the analogue reels or digital copies - HELP STEVE!). Steve makes two flat transfers - one digital and one analogue - and messengers the tape back to Capitol.

1992 - During the prep work for the GV boxset at Cap, Mark reports that both the original master and the digital copy are missing. The NYC copy is used for this box set. No-Noise is NOT used.

1996 - Making the new HDCD mono mix of PS, Mark again uses the NYC copy as the original master and copy are still AWOL.

1999 - A new mono re-master is made by Andrew Sandoval for a single CD release. I am unclear as to what master Andrew used.

2000 - A revised single CD is made with Mark using the 1996 HDCD master.

2006 - The 1987 U1630 digital tape copy of the original master is located at Capitol and used for the 40th anniversary release.

Well, that brings us up to date! Everyone take a break!

Bob F.

PS- Corrections to any of this information would be GREATLY appreciated!

[Daniel S.]

Thanks for the info. To me the Pet Sounds tracks on the GV Box Set are better than the remastered version available now.

[c-man]

Questions:

Was "God Only Knows" also cut from the LP master tape for use on the single? 
If so, was it put back on the reel, or replaced with either a copy or a duophonic master?
For that matter, what about "Let's Go Away For Awhile" and "Here Today" when they were
used for later single B-sides?

Why does the album (especially the opening track) sound different on the 1989 Japanese "Greenline" CD (the world's first "PS" CD release), and the 1990 U.S. version?
The same PCM digital master was supposedly used for both, right?

[petsite]

Questions:

Was "God Only Knows" also cut from the LP master tape for use on the single? 
If so, was it put back on the reel, or replaced with either a copy or a duophonic master?
For that matter, what about "Let's Go Away For Awhile" and "Here Today" when they were
used for later single B-sides?

I have a question about the flip side of singles as well. I know that the "A" side would be removed from the LP master, but  have no idea about the flip. And of course, if the single was released before the LP master was delivered, that cut would not be removed later on for single reel storage.

Why does the album (especially the opening track) sound different on the 1989 Japanese "Greenline" CD (the world's first "PS" CD release), and the 1990 U.S. version?
The same PCM digital master was supposedly used for both, right?

As faar as I know they were. I don't have the Greenline CD but I do have the PastMasters version. They kind of sound the same. But there is a little difference in the tonality.

I have both the UK and the Japanese issue of "The Brother Years" GH package from 1999 (the overseas version included Here Comes The Night, Tears In The Morning and a few others). The tonality between the UK Pressing and the Japanese one is different. There are brighter highs and the bass is boosted. Not a substantial amount, but enough to make me think that in Japan they add a slight eq boost to the tapes while mastering. Not much. Just enough to make the tapes sound even better than they already do.

Bob F.

[Andreas]

Christmas 1991 - Steve prepares the DCC version of PS. He is messenger-ed the original master and the NYC protection copy for his use (though I am unclear if he actually received the analogue reels or digital copies - HELP STEVE!).

Steve received the analog master tapes since he does not work with digital audio workstations. I think there is a quote by him where he states that he had the tape for something like 2 hours in his hands.

[Andreas]

Questions:

Why does the album (especially the opening track) sound different on the 1989 Japanese "Greenline" CD (the world's first "PS" CD release), and the 1990 U.S. version?
The same PCM digital master was supposedly used for both, right?

It could be that the intro was remixed from the mutlitracks specifically for the US CD, but after the digital master was copied and sent to Japan.

It would be interesting to check out where the Japanese CD and the US CD are in synch and where they differ. Overall (except some intros), all the releases 1989/1990 come from the same digital transfer (1987).

Are the clicks in the middle of LGAFAW present on the Japanese Greenline CD, or on the Pastmasters CD?

[c-man]

Questions:

Why does the album (especially the opening track) sound different on the 1989 Japanese "Greenline" CD (the world's first "PS" CD release), and the 1990 U.S. version?
The same PCM digital master was supposedly used for both, right?

It could be that the intro was remixed from the mutlitracks specifically for the US CD, but after the digital master was copied and sent to Japan.

It would be interesting to check out where the Japanese CD and the US CD are in synch and where they differ. Overall (except some intros), all the releases 1989/1990 come from the same digital transfer (1987).

Are the clicks in the middle of LGAFAW present on the Japanese Greenline CD, or on the Pastmasters CD?

Hmm, are you talking about at 1:25?  I have the Greenline release but I never bought the Pastmasters version, so I can't say about that.  Yes, they are there, but not as noticeable as on the 1990 U.S. version.

So, the WIBN intro was remixed from the multi-tracks for all CD releases? (meaning, none of them used the original mono intro, and the Japanese and U.S. versions might have two different remixes from the multis)?  This intro is definitely different-sounding on the first Japanese and the first U.S. release.  The snare drum explosion is brighter and sharper on the Japanese version, while on the U.S. version it is duller yet "fuller", if you will, and the echo is better defined.

Also of interest to me...the intro to "Sloop" is full of "crinkles" on at least some vinyl versions of "Pet Sounds" (my original 1966 copy has too many surface pops and clicks to tell), and on the 1986 "Made In U.S.A." CD (listen through headphones, and the crinkles appear to be in stereo, coming out of the hard left and hard right sides...it almost sounds like it was mastered from a vinyl LP).  Mercifully, these are absent from all CD releases, although this intro always had sounded a bit garbled. 

[petsite]

Also of interest to me...the intro to "Sloop" is full of "crinkles" on at least some vinyl versions of "Pet Sounds" (my original 1966 copy has too many surface pops and clicks to tell), and on the 1986 "Made In U.S.A." CD (listen through headphones, and the crinkles appear to be in stereo, coming out of the hard left and hard right sides...it almost sounds like it was mastered from a vinyl LP).  Mercifully, these are absent from all CD releases, although this intro always had sounded a bit garbled.

 

I posted the following in another thread because I shot off my big mouth abouot the dropout in Sloop on the new mono version of PS on the 40th anniversary issue:

And because I put forward the dropout in Sloop as a possible mastering problem, last night I pulled every freaking CD I have with Sloop on it, from MADE IN USA until the latest version. There is a very bad dropout in Sloop at the point of the 2nd chorus begining. On those releases that used two playback heads instead of a mono playback, the dropout appears only in the "right" channel. The only three versions that you really don't hear the dropout are the DCC version, the 1993 GV box and the 1995 version of 20 Good Vibrations. The worst sounding versions are on Made In USA, Absolute Best Vol.2 and the 1999 PS remaster. So Mark tried his best. It is a tape problem. You can only do so much with what you've got!

Also, I have since found out that Steve Hoffman did receive analogue reels for his mastering purposes. He got the master with the duophonic WIBN on it and the NY safety copy. He made a U1630 digital copy and a 30 ips analouge copy of both reels before returning them to Capitol.

Bob F.

[Andreas]

Yes, they are there, but not as noticeable as on the 1990 U.S. version.

Now you are confusing me...if I remember correctly, the clicks were gone on the 1990 US CD! I first heard them when I bought the Pet Sounds box set, and they have appeared on every release since then (including the DCC) until the 40th anniversary remaster where they are "edited out" (actually: processed so that they sound like hiss) again.

So, the WIBN intro was remixed from the multi-tracks for all CD releases?

I was talking about the 1990 US CD.

[mikee]

Thanks for the great info Petsite!

2006 - The 1987 U1630 digital tape copy of the original master is located at Capitol and used for the 40th anniversary release.

Just for the mono version right?  What about the stereo version & the "Hang On To Your Ego" bonus track , the same masters and mixes as the 1996 version?

[c-man]

Yes, they are there, but not as noticeable as on the 1990 U.S. version.

Now you are confusing me...if I remember correctly, the clicks were gone on the 1990 US CD! I first heard them when I bought the Pet Sounds box set, and they have appeared on every release since then (including the DCC) until the 40th anniversary remaster where they are "edited out" (actually: processed so that they sound like hiss) again.

Wow, I just listened to the DCC version, and the clicks are super-loud there!  So, to un-confuse you, yes they are on both the Japanese Greenline and U.S. 1990 version, but very mild in comparison to later releases like DCC.  In fact, on those two early releases, they are so mild they almost sound like normal session sounds (i.e. a percussionist setting a mallet down after using it...that type of thing).

[c-man]

Bob, you said Steve Hoffman received the masters at Christmastime, 1991, and did flat transfers.  Elsewhere I've read where he said he applied no EQ whatsoever while transferring it, yet Mark Linett disagreed with that, saying he was sure Steve had added some EQ prior to release.  The back of the DCC gold disc jewel case says it was mastered by Steve in April 1993.  I'm wondering it this means he had his copies (the digital one and the analog one), made "flat", with no EQ, from Christmas '91, then in April '93 he "mastered" it for release by adding some mild EQ...?

[Andreas]

I'm wondering it this means he had his copies (the digital one and the analog one), made "flat", with no EQ, from Christmas '91, then in April '93 he "mastered" it for release by adding some mild EQ...?

That would contradict what Steve has said over the years.

Also, mastering from a flat copy is not the same as "Mastered From the Original Master Tapes".

I still presume that the equipment that Steve used for his transfer is partially responsible for the sound.

[Andreas]

Wow, I just listened to the DCC version, and the clicks are super-loud there!

Not louder than on the PS box set bonus disc, which makes me believe that they sound like that on the master tape, while the 1989, 1990 and 2006 releases are digitally manipulated.

[Bicyclerider]

Was there in fact an L.A. protection copy made?  I know Brad has asserted in the past that a copy was made for LA and New York, but in fact this copy was never used, was it, and then it went missing?  The actual master was used until it went missing, and then the NY tape was used.  I don't recall Steve H ever mentioning a missing LA copy tape.

[Daniel S.]

What is the source of the clicks in 'Let's Go Away For Awhile'?

[Joshilyn Hoisington]

We've figured the clicks are punch-outs.

[petsite]

Instead of trying to use the quote function (which makes things kinda hard to read) I'll answer some of the above questions in a list.

Q: Bob, you said Steve Hoffman received the masters at Christmastime, 1991, and did flat transfers.  Elsewhere I've read where he said he applied no EQ whatsoever while transferring it, yet Mark Linett disagreed with that, saying he was sure Steve had added some EQ prior to release.  The back of the DCC gold disc jewel case says it was mastered by Steve in April 1993.  I'm wondering it this means he had his copies (the digital one and the analog one), made "flat", with no EQ, from Christmas '91, then in April '93 he "mastered" it for release by adding some mild EQ...?

A: Steve made a flat transfer of the LA Master Tape and the New York safety copy. He made one flat xfer to a U1630 digital tape and another to a 30 ips 1/2" non-Dolby analog tape reel. Steve then cloned (term for copying one digital tape to another digital tape) the U1630 tape putting in the New York safety version of WIBN cuz the LA Master had the song in duophonic. The clone (with the proper pauses for CD and the train bit from Caroline No also added from the NY copy since the LA master cuts off early) was used to make the DCC CD. All this was done without added eq. What was on the tape was one the CD.

Q: Was there in fact an L.A. protection copy made?  I know Brad has asserted in the past that a copy was made for LA and New York, but in fact this copy was never used, was it, and then it went missing?  The actual master was used until it went missing, and then the NY tape was used.  I don't recall Steve H ever mentioning a missing LA copy tape.

A: After Brian mastered the LP (and he was there during the mastering according to Fred Vail), a safety copy was cut for Capitol in LA. While I have no evidence for this myself, it was standard practice at the time. But I do know that "On 4/7/66 a protection master was made (marked N.Y. copy)"  from the master tape.

Mark said that the 1996 mono HDCD master made for the boxset was used for the 2001 single CD reissue. He has also stated that the 1987 U1630 digital safety copy of the PS Master was found at Cap and used for the current mono mix of the CD.

I am not here to defend or accuse either Mark or Steve (was the DCC really a flat xfer, did Mark remix intros etc., etc, etc) . Both men have been very kind to me and answered my questions about this subject in detail. Both have done fine jobs on there respective releases. I mean, Steve's BB CDs go for alot of money on ebay and are sought by every BB audiophile out there. I was so lucky to get most of them right after they were released. And Mark is still the man in the big fat middle of all the catalogue releases (and Brian's solo releases) since 1987! That says it all right there!

Thanks gentleman. And thanks everyone else for reading my LONG posts!

Bob F.

PS - A U1630 tape is a format that Sony invented in 1969 for analogue video. In the mid-1980s, it was used for mastering and holding digital audio information using a PCM(pulse code modulation) convertor. The tapes for it looked like this:

[Roger Ryan]

Thanks for the great info Petsite!

2006 - The 1987 U1630 digital tape copy of the original master is located at Capitol and used for the 40th anniversary release.

Just for the mono version right?  What about the stereo version & the "Hang On To Your Ego" bonus track , the same masters and mixes as the 1996 version?

The 40th Anniversary stereo version features the reinstated Mike Love bridge vocal in WIBN so technically it's the 2000 master/mix, not the 1996 one.

[GoodVibrations33]

Thanks for the great info Petsite!

2006 - The 1987 U1630 digital tape copy of the original master is located at Capitol and used for the 40th anniversary release.

Just for the mono version right?  What about the stereo version & the "Hang On To Your Ego" bonus track , the same masters and mixes as the 1996 version?

The 40th Anniversary stereo version features the reinstated Mike Love bridge vocal in WIBN so technically it's the 2000 master/mix, not the 1996 one.

I hope I'm not taking away the main focus of this thread but - I just received the 40th Anniversary reissue on vinyl, and the stereo vinyl has Brian singing lead on the bridge and not Mike (which I thought was fixed when Mike's vocal was isolated). Was this a mistake or was it intentional? Also, did anyone else receive the vinyl with its label ripped? I did, on the stereo vinyl, and it also plays with surface noise (almost like a constant dragging). The mono vinyl looks great and plays with no impurities. Thanks.