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Post by zebulan on Nov 4, 2019 21:14:44 GMT -5
Yeah, I struggled trying to figure out how a full I'm in Great Shape track would work until you pointed out that Friday Night could actually transition into the title section. Finding out that the two sections shared the same rhythm was a very cool discovery.
For those curious, here's the relevant clip from the documentary with the "Barnyard Billy" lyrics:
Wow, I'd never seen that before. I guess there's no way to know for sure (unless some lost lyric sheet suddenly surfaces), but that really does sound like a missing Barnyard lyric, and as your edit shows, it works quite well.
On the topic of lyrics, where do the DYLW lyrics go? Brian singing "a-once upon the sandwich isl..." in-between backing track takes shows the lyrics would have been sung with a different melody and a different tempo than BWPS, but at that speed it seems like all the lyrics used in the BWPS verses would have been used up in one verse. We only know of one other lyric that wasn't included in BWPS:
And as we returned to the west or east Indies
We always got them confused
Where does that lyric go? The first part has 11 syllables and the second has 7. Compare that to "Once upon the Sandwich Islands..." which has 8 in the first part and 11 in the second. "Waving from the ocean liner..." (is it a vintage lyric?) has 8 in the first part and 10 in the second. The Indies couplet seems to have been intended for a different part of the song than the other two couplets.
Also, are the "roll Plymouth Rock" vocals supposed to be sung at the end of part 3 or is it supposed to just be the bass line? Is there any way to know?
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Post by dumdangel (Lee) on Nov 5, 2019 11:23:21 GMT -5
On the topic of lyrics, where do the DYLW lyrics go? Brian singing "a-once upon the sandwich isl..." in-between backing track takes shows the lyrics would have been sung with a different melody and a different tempo than BWPS, but at that speed it seems like all the lyrics used in the BWPS verses would have been used up in one verse. We only know of one other lyric that wasn't included in BWPS: And as we returned to the west or east Indies
We always got them confusedWhere does that lyric go? The first part has 11 syllables and the second has 7. Compare that to "Once upon the Sandwich Islands..." which has 8 in the first part and 11 in the second. "Waving from the ocean liner..." (is it a vintage lyric?) has 8 in the first part and 10 in the second. The Indies couplet seems to have been intended for a different part of the song than the other two couplets. Also, are the "roll Plymouth Rock" vocals supposed to be sung at the end of part 3 or is it supposed to just be the bass line? Is there any way to know? In my Smile mix, I'm not going to use that melody Brian sang during the session. Sure the lyrics are genuine, but the melody he's singing is the standup bass line in the Plymouth Rock section. He had been singing it a couple of times to Lyle at that point. I think he just sung the lyrics to the wrong melody. I place the East or West Indies lyric over the final Bicycle Rider part that has the harpsichord falling apart into disarray. In my mix the guys will sing Roll Plymouth Rock after Part 3. We can never know for sure, but if I were to take a guess, I think it makes the song better if they do.
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Post by Micha on Nov 6, 2019 0:14:00 GMT -5
I place the East or West Indies lyric over the final Bicycle Rider part that has the harpsichord falling apart into disarray. I'm pretty sure that's where they go. I even tried to make up a melody and arrangement for it, but I never got around to recording it. The music that you describe as "falling apart", just before the fade, is a perfect musical illustration of the words "we always got them confused". It is so evident to me that I wonder why they didn't use it in the 2004 version.
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Post by zebulan on Nov 6, 2019 13:08:49 GMT -5
I used Spleeter to isolate the I'm in Great Shape vocal from the Humble Harv demo. It actually turned out pretty well; better than the isolation attempt from the SMiLE A.D. Fanmixers Toolkit which had some noticeable leftovers from the piano and background noise. Unfortunately, the Spleeter isolated vocal was completely missing the "open country" bit. Tacking on the A.D. isolated vocal for that last bit was a bit too jarring due to sudden half-removed piano and background noises. So I took the A.D. isolated vocal and ran that through Spleeter. The resulting double-isolated vocal had more artifacts in general than the direct Spleeter isolation, but the "open country" line was at least slightly audible and had less noise around it. So I opened Audacity and used a lot of splicing to sync the direct Spleeter isolation to dumdangel's backing track recreation, using the isolation of the A.D. isolation for the "open country" line. I also sped up the tempo of the "look at me jump" line by 6%. Here's the result: voca.ro/nMG6zrkYdaIAnd here's the vocal by itself: voca.ro/3mj7vIi1UslI think it turned out pretty well, given what little there is to work with. I would have used the actual original backing track, but I don't feel like trying to figure out how to cut it to loop properly at the moment. If anyone has a properly looped version of that backing track without the fade-in/fade-out that it has on the Wake the World compilation, let me know.
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Post by filledeplage on Nov 6, 2019 15:24:30 GMT -5
I used Spleeter to isolate the I'm in Great Shape vocal from the Humble Harv demo. It actually turned out pretty well; better than the isolation attempt from the SMiLE A.D. Fanmixers Toolkit which had some noticeable leftovers from the piano and background noise. Unfortunately, the Spleeter isolated vocal was completely missing the "open country" bit. Tacking on the A.D. isolated vocal for that last bit was a bit too jarring due to sudden half-removed piano and background noises. So I took the A.D. isolated vocal and ran that through Spleeter. The resulting double-isolated vocal had more artifacts in general than the direct Spleeter isolation, but the "open country" line was at least slightly audible and had less noise around it. So I opened Audacity and used a lot of splicing to sync the direct Spleeter isolation to dumdangel's backing track recreation, using the isolation of the A.D. isolation for the "open country" line. I also sped up the tempo of the "look at me jump" line by 6%. Here's the result: voca.ro/nMG6zrkYdaIAnd here's the vocal by itself: voca.ro/3mj7vIi1UslI think it turned out pretty well, given what little there is to work with. I would have used the actual original backing track, but I don't feel like trying to figure out how to cut it to loop properly at the moment. If anyone has a properly looped version of that backing track without the fade-in/fade-out that it has on the Wake the World compilation, let me know. Sounds good - way above my pay grade. Reminds me of HMS Pinafore - Gilbert and Sullivan.
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Post by dumdangel (Lee) on Nov 6, 2019 18:14:00 GMT -5
I used Spleeter to isolate the I'm in Great Shape vocal from the Humble Harv demo. It actually turned out pretty well; better than the isolation attempt from the SMiLE A.D. Fanmixers Toolkit which had some noticeable leftovers from the piano and background noise. Unfortunately, the Spleeter isolated vocal was completely missing the "open country" bit. Tacking on the A.D. isolated vocal for that last bit was a bit too jarring due to sudden half-removed piano and background noises. So I took the A.D. isolated vocal and ran that through Spleeter. The resulting double-isolated vocal had more artifacts in general than the direct Spleeter isolation, but the "open country" line was at least slightly audible and had less noise around it. So I opened Audacity and used a lot of splicing to sync the direct Spleeter isolation to dumdangel's backing track recreation, using the isolation of the A.D. isolation for the "open country" line. I also sped up the tempo of the "look at me jump" line by 6%. Here's the result: voca.ro/nMG6zrkYdaIAnd here's the vocal by itself: voca.ro/3mj7vIi1UslI think it turned out pretty well, given what little there is to work with. I would have used the actual original backing track, but I don't feel like trying to figure out how to cut it to loop properly at the moment. If anyone has a properly looped version of that backing track without the fade-in/fade-out that it has on the Wake the World compilation, let me know. This is brilliant, Zebulan! This will revolutionize our future Smile mixes. I'm going to try and figure out how to use the tool. I've got a lot of fun ideas to toy with. Very eager...
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Post by zebulan on Nov 7, 2019 23:37:40 GMT -5
How do I sync the Wonderful backing track to match the vocals? It seems like the pitch and tempo have to be changed at different rates, which complicates things. Is the last take on The Smile Sessions even the master take?
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Post by Micha on Nov 8, 2019 0:01:21 GMT -5
I used Spleeter to isolate the I'm in Great Shape vocal from the Humble Harv demo. It actually turned out pretty well; better than the isolation attempt from the SMiLE A.D. Fanmixers Toolkit which had some noticeable leftovers from the piano and background noise. Unfortunately, the Spleeter isolated vocal was completely missing the "open country" bit. Tacking on the A.D. isolated vocal for that last bit was a bit too jarring due to sudden half-removed piano and background noises. So I took the A.D. isolated vocal and ran that through Spleeter. The resulting double-isolated vocal had more artifacts in general than the direct Spleeter isolation, but the "open country" line was at least slightly audible and had less noise around it. So I opened Audacity and used a lot of splicing to sync the direct Spleeter isolation to dumdangel's backing track recreation, using the isolation of the A.D. isolation for the "open country" line. I also sped up the tempo of the "look at me jump" line by 6%. Here's the result: voca.ro/nMG6zrkYdaIAnd here's the vocal by itself: voca.ro/3mj7vIi1UslI think it turned out pretty well, given what little there is to work with. I would have used the actual original backing track, but I don't feel like trying to figure out how to cut it to loop properly at the moment. If anyone has a properly looped version of that backing track without the fade-in/fade-out that it has on the Wake the World compilation, let me know. Can you extract the vocals from "On A Holiday" too? That's the big gap missing in my own SMiLE mixes. Back in the day I had the opportunity to get a really good vocals extraction fron "Roll Plymouth Rock" and a quite decent one from "Song or Children", but I never managed to extract them from "On A Holiday" in a usable way. I'm willing to trade of course!
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Post by zebulan on Nov 8, 2019 11:51:23 GMT -5
Using a BWPS sessions bootleg containing backing tracks, I was able to get some pretty good isolations of some vocals I used in my personal mixes at the time. I hadn't done On a Holiday before, though, so I went ahead and tried to do that using the bootleg backing tracks, since channel-cancelation isolations sound better if you can sync the backing track to the full track and invert the former. Unfortunately, the backing tracks all seem to play at slightly different speeds than the final mixes (and different speeds depending on the section), and the volume of the backing track relative to the vocals changes several times in the final mixes. The cuts between sections also happen at slightly different points in some cases. In the case of On a Holiday, the backing track suddenly gets louder in the middle of the chorus, so I had to do two separate isolations for each chorus with the inverted backing track playing at different volumes. The tag has a cut at the end of "long ago" where the backing track changes volume, and then the volume changes again shortly when the harpsichord kicks in, and at that point I got tired of trying to do the whole tag. I tried a direct isolation of the track using Spleeter, and it sounds okay in some parts, but in others not so much. Using Spleeter on the already channel-cancel isolated tracks worked better, so I did that. In some cases the Spleeter isolation takes more than it gives, so I'll leave the choice of which ones to use up to you. Here's all the BWPS vocal isolations I've done. Get them while they're hot, because I need the space back on my Dropbox, and while I'm pretty sure this falls under fair use, I'd rather not let it stay up for too long just in case. www.dropbox.com/sh/gtl28h9x76yft5a/AADGKDZCxvAYFqjMBSGM0cT0a?dl=0
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Post by dumdangel (Lee) on Nov 8, 2019 15:46:54 GMT -5
How do I sync the Wonderful backing track to match the vocals? It seems like the pitch and tempo have to be changed at different rates, which complicates things. Is the last take on The Smile Sessions even the master take? The backing track for Wonderful version 1 was slowed down a full step by Brian, then overdubbed with a tenor ukulele by Lyle Ritz. Brian recorded the song in D#, and you need to slow it down to C#. I've got that right here if you'd rather save time: Wonderful ver1 (Instrumental)
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Post by zebulan on Nov 8, 2019 22:29:43 GMT -5
I never noticed that ukulele before. Thanks for mentioning it, dumdangel! Also, Part 1 Tag works pretty well as an interlude and/or fade to Wonderful. I still think the recording was done for H&V (mainly because of the claps and electric piano sound), but I wonder if the melody had been originally intended for Wonderful. Using Spleeter, I was able to get a pretty good isolation of the Wonderful lead vocal. I took Soniclovenoize's 2018 stereo mix, extracted the center channel, and then put that through Spleeter. The result was a mostly isolated lead vocal and mostly isolated backing track which I could combine into a full stereo mix of the song. I panned the lead vocal 20% to the left and the backing track 50% to the right. I increased the gain of the latter by 1db compared to the other tracks. I swapped the leftover left and right channels so the yodeling vocal bit would be heard on the right. I also slightly increased the volume of the final bass notes by copy-pasting the very end of TSS mono mix and panning it to match the rest of the backing track. There have been some attempts at making a stereo Wonderful that separates the lead vocal from the backing track, but all the ones I've ever heard had noticeable artifacts. This might be the first one to sound mostly normal. drive.google.com/open?id=1FGgsCP2hE82IS_FH6SGp1yKHZHqnQCdyHere's the Spleeter isolation of the vocal by itself. drive.google.com/open?id=12f5sONq-gthU_btxuKXiq4sNJeQ3lsURAnd here's the matching accompaniment isolation. (I configured Spleeter to output the files so that if recombined, they would create the original track (in this case the center channel of Soniclovenoize's 2018 stereo mix); this results in slightly more distortion/artifacts when each track is heard individually, but it keeps the audio sounding clearer and avoids clipping when recombining the tracks.) drive.google.com/open?id=1vdXlTKHB9MxmvJ-MsGdW1_LjVm6Z2gCfEnjoy! Like the stuff I posted above, I'll be removing this in the future, so get it while you can.
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Post by dumdangel (Lee) on Nov 8, 2019 23:32:30 GMT -5
The Wonderful backing track master take isn't on the Smile Sessions. I think the master take is included. It just hasn’t been slowed down a full step and is missing the overdub. The take included on the smile sessions sounds exactly like the extracted master take Zebulan made. EDIT: Salty's right. The master take is left off the Smile Sessions. I've heard a decent version of it somewhere, only with the early background vocals. I'm sure spleeter could remove those for us.
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Post by zebulan on Nov 9, 2019 0:35:24 GMT -5
The Wonderful backing track master take isn't on the Smile Sessions. I think the master take is included. It just hasn’t been slowed down a full step and is missing the overdub. The take included on the smile sessions sounds exactly like the extracted master take Zebulan made. As stated before, my mix is based off of Soniclovenoize's 2018 mix. According to his blog post about the mix that I just checked: While making my Wonderful mix, I forgot to check what sources he used for his stereo mix. His Wonderful stereo mix has some bleed-over from the left and right channels into the center channel and vice-versa. (Probably from very slight stereo panning toward the center.) I just realized that I could get a better vocal isolation and a cleaner mix by using the aforementioned box set sources directly. I'll probably do that in the near future.
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Post by zebulan on Nov 9, 2019 0:44:53 GMT -5
The Wonderful backing track master take isn't on the Smile Sessions. I think the master take is included. It just hasn’t been slowed down a full step and is missing the overdub. The take included on the smile sessions sounds exactly like the extracted master take Zebulan made. I'm pretty sure dumdangel is right. The count-in from Brian for the 2nd take in TSS sounds the same as the one on Secret Smile disc 1 tracks 5 and 6, both of which have the ukulele overdub, and the latter of which has vocal overdubs.
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Post by zebulan on Nov 9, 2019 11:09:37 GMT -5
I'm pretty sure dumdangel is right. The count-in from Brian for the 2nd take in TSS sounds the same as the one on Secret Smile disc 1 tracks 5 and 6, both of which have the ukulele overdub, and the latter of which has vocal overdubs. Nope, those aren't the same take, try lining them up. The final take was removed from the session reel and added to another missing 4-track comp tape. It DOES still exist as a mono dub onto the same multi as the backing vocals, but that hasn't been officially released by itself. I guess that would explain why I wasn't able to sync the take from TSS to Sonicelovenoize's 2018 mix. I thought there was something weird going on with the tempo and pitch changing at different rates, but I guess that's just because the takes weren't even the same.
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Post by dumdangel (Lee) on Nov 9, 2019 13:08:33 GMT -5
Using Zebulan's extract, I've sped it up a full step to resemble what the master take would have sounded like during the session in it's original key of Eb. The rhythm in the track is slightly slower and much more consistent. I also think the harpsichord is mixed better in the master. If only we could have gotten the trumpet player to pull off those notes better. I'm sure George Martin could have accomplished it. The trumpet solo on For No One pulls off the high end notes much more smoothly. Should've flown that guy to LA. Wonderful - Rough Master Take
Hey Salty, could you do me a favor? I've got a new question I'd like to present to the Sandbox: could you make a list of all the Smile Sessions tracks we are missing the master takes for?
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Post by zebulan on Nov 9, 2019 16:22:13 GMT -5
Forgot to say, this Wonderful isolation is amazing! By far the best I've ever heard. Is Spleeter any good at separating individual instruments or is that a way off? The pretrained models that Spleeter comes with are only designed for separating out at most drums, bass, piano, vocal, and a track for everything else called "other". I haven't played around enough with the 4-stem or 5-stem options much since they take up more CPU power and RAM, but from what I have tested, the drums isolation is decent. I haven't tried enough songs with standard bass or piano sounds to see how well it can isolate those.
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Post by zebulan on Nov 9, 2019 17:02:30 GMT -5
Is the 1993 GV box set Dada a vintage mix? Also, is TSS Dada mix just the GV one with the additional vocals flown in on top (and the Water Chant added to the start and the Our Prayer bit tacked on to the end)? And speaking of which, where exactly do those vocals come from? It sounds like Dennis' vocal (EDIT: not actually sure whose vocal it is) from the Cool Cool Water version 2 on TSS disc 4 track 15. Actually, I just noticed that the version of Cool Cool Water on Sunshine Tomorrow is missing the last layer of overdubs on the track from TSS; were those overdubs added during the Sunflower sessions?
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Post by Micha on Nov 11, 2019 0:50:17 GMT -5
Using a BWPS sessions bootleg containing backing tracks, I was able to get some pretty good isolations of some vocals I used in my personal mixes at the time. I hadn't done On a Holiday before, though, so I went ahead and tried to do that using the bootleg backing tracks, since channel-cancelation isolations sound better if you can sync the backing track to the full track and invert the former. Unfortunately, the backing tracks all seem to play at slightly different speeds than the final mixes (and different speeds depending on the section), and the volume of the backing track relative to the vocals changes several times in the final mixes. The cuts between sections also happen at slightly different points in some cases. In the case of On a Holiday, the backing track suddenly gets louder in the middle of the chorus, so I had to do two separate isolations for each chorus with the inverted backing track playing at different volumes. The tag has a cut at the end of "long ago" where the backing track changes volume, and then the volume changes again shortly when the harpsichord kicks in, and at that point I got tired of trying to do the whole tag. I tried a direct isolation of the track using Spleeter, and it sounds okay in some parts, but in others not so much. Using Spleeter on the already channel-cancel isolated tracks worked better, so I did that. In some cases the Spleeter isolation takes more than it gives, so I'll leave the choice of which ones to use up to you. Here's all the BWPS vocal isolations I've done. Get them while they're hot, because I need the space back on my Dropbox, and while I'm pretty sure this falls under fair use, I'd rather not let it stay up for too long just in case. www.dropbox.com/sh/gtl28h9x76yft5a/AADGKDZCxvAYFqjMBSGM0cT0a?dl=0Boy, those are marvelous! A little miracle even. Great gift for my 50th birthday one week early! Thank you a great big lot!!!!
And your notes explain why I never was able to do a phase cancellation extraction using the instrumental version on the BWPS vinyl other than speed difficulties.
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ash
Grommet
Posts: 13
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Post by ash on Nov 11, 2019 2:56:20 GMT -5
Using Zebulan's extract, I've sped it up a full step to resemble what the master take would have sounded like during the session in it's original key of Eb. The rhythm in the track is slightly slower and much more consistent. I also think the harpsichord is mixed better in the master. If only we could have gotten the trumpet player to pull off those notes better. I'm sure George Martin could have accomplished it. The trumpet solo on For No One pulls off the high end notes much more smoothly. Should've flown that guy to LA. Wonderful - Rough Master Take
Hey Salty, could you do me a favor? I've got a new question I'd like to present to the Sandbox: could you make a list of all the Smile Sessions tracks we are missing the master takes for? That's a French Horn on For No One played by Alan Civil but I know what you're saying ! On the other hand, the French Horn is fractionally out of time on the last verse, certainly on the stereo mix of Revolver so George Martin wasn't perfect ! It may have been "flown in" at the end rather than overdubbed which would explain the timing issue. I wonder if the "broken" nature of the trumpet was something Brian was specifically after or liked ? He was pretty perfectionist during the sessions and I don't think he'd have hesitated to ask for a re-take if there was something he wasn't happy with. He and the group even overdubbed vocals on the track a while later so I think we have to assume he was happy with it at that point.
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Post by zebulan on Nov 11, 2019 9:56:22 GMT -5
Yeah, I thought the way the horn sounded on Wonderful was intentional, too. Using a BWPS sessions bootleg containing backing tracks, I was able to get some pretty good isolations of some vocals I used in my personal mixes at the time. I hadn't done On a Holiday before, though, so I went ahead and tried to do that using the bootleg backing tracks, since channel-cancelation isolations sound better if you can sync the backing track to the full track and invert the former. Unfortunately, the backing tracks all seem to play at slightly different speeds than the final mixes (and different speeds depending on the section), and the volume of the backing track relative to the vocals changes several times in the final mixes. The cuts between sections also happen at slightly different points in some cases. In the case of On a Holiday, the backing track suddenly gets louder in the middle of the chorus, so I had to do two separate isolations for each chorus with the inverted backing track playing at different volumes. The tag has a cut at the end of "long ago" where the backing track changes volume, and then the volume changes again shortly when the harpsichord kicks in, and at that point I got tired of trying to do the whole tag. I tried a direct isolation of the track using Spleeter, and it sounds okay in some parts, but in others not so much. Using Spleeter on the already channel-cancel isolated tracks worked better, so I did that. In some cases the Spleeter isolation takes more than it gives, so I'll leave the choice of which ones to use up to you. Here's all the BWPS vocal isolations I've done. Get them while they're hot, because I need the space back on my Dropbox, and while I'm pretty sure this falls under fair use, I'd rather not let it stay up for too long just in case. www.dropbox.com/sh/gtl28h9x76yft5a/AADGKDZCxvAYFqjMBSGM0cT0a?dl=0Boy, those are marvelous! A little miracle even. Great gift for my 50th birthday one week early! Thank you a great big lot!!!!
And your notes explain why I never was able to do a phase cancellation extraction using the instrumental version on the BWPS vinyl other than speed difficulties.
One more thing I forgot to mention is that the backing tracks on the BWPS sessions bootleg seemed to all have their stereo channels swapped compared to the final mixes. I hope one of these days they release a deluxe version of BWPS with proper acapella and instrumental versions of all the songs.
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Post by catbirdman on Nov 11, 2019 16:42:39 GMT -5
Boy, those are marvelous! A little miracle even. Great gift for my 50th birthday one week early! Thank you a great big lot!!!!
They sure are marvelous, aren't they? I too applaud all the skilled and industrious audio mixers on this forum, especially zebulan and dumdangel as of late. Like clockwork every 7 years or so I plunge into a Smile rabbit hole, making custom mixes and sequences; stuff like this is pure gold for that. Thank you so much for sharing with us the fruits of your labors. Salty Marshmallow is another one; I've got tons of stuff thanks to you over the years. Happy 50th Micha!!! I'll be following in your footsteps soon...
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Post by zebulan on Nov 13, 2019 10:54:00 GMT -5
Does anyone have a full acapella of the DYLW part 3 vocals and/or isolations of each part of the vocals? I've noticed that the vocals on TSS disc 1 track 25 are missing the first kazoo bit. I've also noticed that soniclovenoize's mix brings in the kazoos and other backing vocals at the same time, which is incorrect since vintage mixes have the kazoos come first before the other backing vocals kick in on the second time around.
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Post by dumdangel (Lee) on Nov 13, 2019 16:06:22 GMT -5
Does anyone have a full acapella of the DYLW part 3 vocals and/or isolations of each part of the vocals? I've noticed that the vocals on TSS disc 1 track 25 are missing the first kazoo bit. I've also noticed that soniclovenoize's mix brings in the kazoos and other backing vocals at the same time, which is incorrect since vintage mixes have the kazoos come first before the other backing vocals kick in on the second time around. I probably have the best mix of the group's Hawaiian chant vocals from December. Spleeter might be able to help us isolate it, but I doubt it because it's still from a bootleged mono mix. I'll upload it soon.
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Post by zebulan on Nov 13, 2019 22:12:12 GMT -5
Thanks, everybody. I just completed my stereo mix of Do You Like Worms: drive.google.com/open?id=1OZZ99jJDb2IgOaQFWJK80wzplhfADRZkThe entire backing track is sourced from TSS except for the chorus. The chorus starts out with the section of DYLW Part 4 repurposed as a new Part 2 for the harpsichord only part, and then cuts to the center channel of UM17 disc 1 track 20 when the vocals kick in. I then synced the Bicycle Rider overdubs from TSS disc 3 track 5 on top of that (or maybe vice-versa, I can't remember). I crossfade the end of the bass line from that source into the bass line of the left channel of UM17 disc 1 track 20 to avoid the "I like it" studio chatter. I also cut to the final harpsichord note, sourced from soniclovenoize's 2018 Behind the SMiLE backing track reconstruction. I don't know where he sourced that spliced harpsichord note from, and I couldn't find it in TSS, but using it straight from SLN's mix sounded good enough to me. The first Roll Plymouth Rock vocals are sourced from UM16 disc 1 track 4. I managed to sync them to TSS backing track pretty well. The second Roll Plymouth Rock vocals are sourced from TSS disc 1 track 25. I use the second half of these vocals for the Roll Plymouth Rock reprise after Part 3. The Part 3 vocals are sourced from saltymarshmallow's isolations.
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