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Author Topic: Settling the "Getcha Back" debate  (Read 9976 times)
phirnis
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« Reply #50 on: August 03, 2015, 04:58:51 AM »

What does audio compression do to vocals in terms of desired effects?
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urbanite
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« Reply #51 on: August 03, 2015, 07:10:54 AM »

I don't know why people believe the guy singing the rough vocal at the end of Getcha Back is the same guy singing a relatively smooth falsetto from the beginning and throughout the song?  The producer of the album stated that Brian's vocal were poors and he needed a singing coach.
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37!ws
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« Reply #52 on: August 03, 2015, 09:35:27 AM »

Didn't a very reliable source post here not too long ago that not only was it Brian singing the falsetto, but it was also ONE falsetto line recorded (basically, an attempt considered "good") and looped and dropped in where necessary?
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« Reply #53 on: August 03, 2015, 01:41:17 PM »

I don't know why people believe the guy singing the rough vocal at the end of Getcha Back is the same guy singing a relatively smooth falsetto from the beginning and throughout the song?  The producer of the album stated that Brian's vocal were poors and he needed a singing coach.

1). Maybe because it is Brian singing

2).  The falsettos is not smooth.  Brian gets there and it sounds great but not smooth.  The 60s falsetto was smooth.

Only my opinion off course, but I wonder why anyone thnks it's not Brian when it sounds like him and others have confirmed it is him.  Care to elaborate?
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Watch a Cave
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« Reply #54 on: August 03, 2015, 01:51:21 PM »

Just because Brian may have had a "rough" regular singing voice during this time period didn't mean his higher register/ falsetto wasn't smooth.


Just listen to the 76-78 time period.. Scratchy lead vocals but still provided crystal clear falsettos when called upon.

Brian sang the falsetto on Getcha Back.  Can we move on now?
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RONDEMON
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« Reply #55 on: August 03, 2015, 02:10:31 PM »

The BBE Aural Exciter doesn't really do that. It adds a lot of EQ and high-end and shimmer but most of the 85 vocals sound tripled and chorused with some digital reverb.
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Pretty Funky
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« Reply #56 on: August 03, 2015, 02:23:41 PM »

Sonic Maximizer! Aural Exciter! EQ and high-end and shimmer!

I know nothing about recording but I'm loving this thread. LOL
« Last Edit: August 03, 2015, 02:24:36 PM by Pretty Funky » Logged
guitarfool2002
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« Reply #57 on: August 03, 2015, 03:27:47 PM »

Consider this for one possibility that was used to give that vocal sound on the '85 album.

The Eventide Harmonizer. Either the original 910 or one of the later versions, whatever the case.

These were almost ubiquitous in studios and mixing "hit" records in the early 80's, everything from Prince to Bowie to Van Halen to a majority of hit songs and albums of the 80's were probably processed through a version of an Eventide Harmonizer. It would and could give the exact chorus/delay/doubled effect that was mentioned above depending on how it was set up.

A very common thing they'd do is set up a signal chain with two Eventide units processing the "dry" track, like a vocal. What they could and did do is create artificial doubling and tripling which would create that effect of chorusing and also some digital delay added as was pretty standard in the 80's as well. One process would be send the dry signal, have one Eventide detune it slightly down, have the other detune it slightly up, then mix them together with whatever other effects were desired. It was still being done on DAW's on any number of hip-hop and R&B recordings into the 2000's and beyond. It gives a certain sound to vocals, a specific sound.

So if the band were looking for a radio hit in 1984-85, if they hired a hot producer who was cutting hit records at the time, chances are pretty high they might also have some of those studio sounds that were common to hit records and vocals on those records at the time. And one pretty common effects unit heard on a lot of hits was the Eventide. It would produce that same chorus/doubling/digital delay sound that was mentioned, depending on how it was used.
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
guitarfool2002
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« Reply #58 on: August 03, 2015, 03:32:49 PM »

BTW...interesting fact. The precursor to the digital Eventide Harmonizer was the analog ELTRO that was used on "She's Goin Bald" back in '67. Time-stretch, pitch-shift capabilities that allowed you to change pitch without changing speed or tempo as was the case with analog tape previously. The Eventide like the ELTRO but in a *much* smaller housing got used on everything from advertising jingles to reruns of old TV shows to allow for more commercials to be put into the length of the show itself. You could speed up the film/video, lessen the run time, and the soundtrack wouldn't sound as "Chipmunks" vari-speeded as it did previously.


I think.  Smiley
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
Pretty Funky
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« Reply #59 on: August 03, 2015, 03:43:42 PM »

From a old thread.

Don't think this quote has showed up yet here:

Levine: "Those high bits on 'Getcha Back' took ages to do, and I must say that Terry Melcher gets credit for virtually forcing Brian to get those.  Brian was very reluctant to do them because they were such classic Beach Boys things". (from MIX Magazine in '85).


Quote and source. Good enough for me.
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c-man
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« Reply #60 on: August 03, 2015, 08:35:30 PM »

The BBE Aural Exciter doesn't really do that. It adds a lot of EQ and high-end and shimmer but most of the 85 vocals sound tripled and chorused with some digital reverb.


Well, neither does the Aphex Aural Exciter. I have two of each in my studio - both add shimmer and bottom without resorting to boosting frequencies, and they do it in different ways.
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c-man
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« Reply #61 on: August 03, 2015, 08:37:25 PM »

What does audio compression do to vocals in terms of desired effects?

Smooths out the peaks and valleys, and if you squash it hard enough, you get the kind of sound you hear on the vocals from the '85 album.
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Ron
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« Reply #62 on: August 03, 2015, 09:25:35 PM »

The reason Brian sounds rough at the end of the song but smooth in the falsetto on the same song is because Brian Wilson
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« Reply #63 on: August 06, 2015, 04:30:59 AM »

OCA was heavily pitch corrected with pre-Auto Tune tech, as was BW88.

On Brian's first solo album, Paley admits they used a Fairlight CMI to fix some bum notes in "One For The Boys". Given that there are four such sessions logged March 15th/16th/17th/18th 1988, I'd say more than a few...
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