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677814 Posts in 27367 Topics by 4046 Members - Latest Member: reecemorgan December 07, 2022, 02:04:30 AM
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Author Topic: Full Instrumental Recreation of Let Him Run Wild - Video  (Read 1198 times)
Joshilyn Hoisington
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« on: October 15, 2022, 04:43:20 PM »

https://www.youtube.com/watch?v=apOnGw3g3tw

Hey pals.  At the link above you'll find a new video where I attempt to make a visually interesting thing to watch while you hear my painstakingly researched recreation of Let Him Run Wild on all original, real instruments.  Hope you like it.  Always love to hear somebody say something about these.
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Mitchell
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« Reply #1 on: October 16, 2022, 09:31:59 PM »

Simply (or perhaps the opposite of that!) fantastic. You've especially nailed the guitar sounds but everything seems to be just right. Love the vibraphone. From a mix perspective there are a couple of buried parts I'd like to hear more but that's mostly just a byproduct of having listened to the officially-released version of the backing track. Speaking of which, what are your guiding principles for mixing the videos?
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BJL
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« Reply #2 on: October 17, 2022, 08:29:14 AM »

Incredible. Just like in the Help Me Rhonda video, there is something so satisfying about seeing the instruments come in and out, and getting that visual information. Especially, for me, seeing that "snare" hit on the tambourine, which is such a cool sound, and which I don't think I could ever have identified myself! The guitars sound almost uncannily right, too!
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Joshilyn Hoisington
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« Reply #3 on: October 17, 2022, 09:30:20 AM »

Thanks!

Yeah, my guiding principles for mixing, that's a good question.  For the moment, I'll admit that I don't really have a unifying concept.  For the productions that really rely on certain mono combinations for the right feeling, I have mixed the tracks using the same 3-track bussing scheme that the original used.  I may do some more out-there stereo mixes in the future.  But for these, I send the signals to Left, Center, or Right busses, matching how they were routed originally.  But I don't really try to level match or get the individual bus balances to match the original closely, I just do the mixing by ear without close comparison to the original track.  Sometimes, if I can't get something to sound great, I'll intentionally mix it a bit lower than I otherwise would.

Now, when we get to some of the simpler or slightly less involved tracks, I plan to open things up more.  For instance, on something like "The Girl From New York City," that track was cut to mono, and I'll mix it to stereo as if they'd spread it out to three-track at the time.

Likewise, for Amusement Parks, we are missing the 3-track master of the track, so I will spread that out to three-track stereo as well.

For the self-contained tracks, where it's just the boys, I'm planning to do sort of full stereo mixes without any real recourse to vintage mixes, because those tracks were cut to mono then built up with overdubs, so I think it will be interesting to move some of that stuff around a bit and let people hear it.

Pet Sounds may be a whole different thing, because it has already been digested on a microscopic level with official releases.  I may do really dramatic "remixes" and feature more isolated stuff.  We'll see!  It all depends on how much time I have to work on it!

Thanks for a good question.
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Joshilyn Hoisington
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« Reply #4 on: October 17, 2022, 09:32:24 AM »

Incredible. Just like in the Help Me Rhonda video, there is something so satisfying about seeing the instruments come in and out, and getting that visual information. Especially, for me, seeing that "snare" hit on the tambourine, which is such a cool sound, and which I don't think I could ever have identified myself! The guitars sound almost uncannily right, too!

Thank you.  I've been thinking about what that hit could be for 20 years....Hope I got it right.

I think I've said it before, but the visual stuff is so important to me -- I honestly don't really enjoy the process of filming and editing myself doing all that, but in the end it's really vital to continue to show the human physicality behind these records.
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leoleoleoleo
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« Reply #5 on: October 19, 2022, 09:07:08 AM »

Remarkable stuff, I do find your passion and dedication very inspiring!
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Don Malcolm
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« Reply #6 on: October 19, 2022, 01:55:51 PM »

Great as always, Joshilyn! There was a question/comment on YouTube regarding the "target" instrumental mixes that you're using for these, which was based on an assumption that one of those "target" sources comes from the session tapes from the UM/SOT disks. (I think they were suggesting that a later take of "Let Him Run Wild" seemed to be the "target" as opposed to the one actually designated as the master.) Just curious as to how that aspect of things gets worked into your re-creations.
 
And that leads to one other question: what level of difference/change have you noticed from the SOT master takes and what actually got pressed to record? I would imagine that this, too, varies from track to track, with some being identical to others with some audibly noticeable changes.
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SMiLE-addict
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« Reply #7 on: October 19, 2022, 07:43:42 PM »

Haha that is great!!!!
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HeyJude
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« Reply #8 on: October 20, 2022, 06:25:25 AM »

Just gotta say again, this is truly next-level, important stuff. It's not only impressive as a feat and undertaking in and of itself, it's important on every level of education when it comes to this music. Musicians and non-musicians alike can truly get a TON out of listening to and watching this stuff.

And, as Joshilyn has already put so well, *seeing* these parts performed adds a ton. As in, you really don't know until you see these parts performed how important it is to see it. To see all the layers, and also see the starts and stops to different parts at different points. Amazing, and I say that as someone who at least tries to not over-use that word.

And I can't emphasize enough how meticulously exact this stuff sounds in reference to the originals. The *parts* are all there and performed exactingly, but getting all those tones and timbres right. I just never though someone would have the exacting insight and time and attention to detail to do that, especially on this mid-period 60s stuff where Brian had these sprawling groups of musicians, often playing oddly sized and oddly sourced instruments.

And *all* of that is not even touching on the meticulous mixing decisions that have to be made here. That Joshilyn is going to the intricate detail to use the original 3-track bussing system is beyond next level, and I enjoy that all of that attention to the original recordings is being continually balanced with mixing this stuff presently so we can now hear everything we need to hear.
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Mitchell
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« Reply #9 on: October 20, 2022, 02:24:55 PM »

Thanks for the thoughtful reply! I'd love to see more breakdowns/walk-throughs of various individual tracks, or groups of tracks, as you go.
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Steve Latshaw
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« Reply #10 on: October 24, 2022, 06:28:03 AM »

I can't wait to hear your take on Amusement Parks USA.  That has my favorite Beach Boys keyboard solo.
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Mark A. Moore
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« Reply #11 on: October 24, 2022, 04:19:16 PM »

Excellent! Sounds authentic.
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MyDrKnowsItKeepsMeCalm
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« Reply #12 on: November 03, 2022, 06:20:07 PM »

Love this! Super cool!!

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