SH Spotlight 'Does anyone know where Brian Wilson mastered PET SOUNDS in 1966?" Info is here...

Discussion in 'Music Corner' started by Steve Hoffman, Jul 28, 2004.

  1. Steve Hoffman

    Steve Hoffman Your Host Your Host Thread Starter

    It's just tape delay and echo with EQ to create a sense of depth. In some cases it works but it destroyed the delicate Brian Wilson arrangements in PET SOUNDS.

    When one gentle drum tap automatically becomes two, you know you're in trouble..
     
    quicksrt likes this.
  2. Steve Hoffman

    Steve Hoffman Your Host Your Host Thread Starter

    Opened and bumped up by request of a loyal 14 year SH Forums member. Glad to oblige. Shouldn't have been closed anyway.
     
    Shvartze Shabbos and quicksrt like this.
  3. My thoughts too. What purpose is served by closing these insightful threads to begin with? This forum has such a wealth of information going back over a decade and it's frustrating when you search an old thread (like this) only to find it closed. While I'm here, who decides to close a non-controversial thread like this? Can you simply leave them open permanently?

    Does anyone have pictures of the cutting room and equipment described earlier in the thread that etched the numbers into the dead wax?
     
  4. Steve Hoffman

    Steve Hoffman Your Host Your Host Thread Starter

    There are many photos of the Capitol mastering rooms of the 1960s floating around, I've seen them but can't find any now. Anyone else?

    BTW, dreadful mastering from those rooms, 1962-66, really not good.
     
    Shvartze Shabbos likes this.
  5. McLover

    McLover Forum Resident

    Location:
    East TN
    Wonder if the WT alluded to in the beginning of the thread as a engineer is Wally Traugott? Plausible perhaps.
     
    john lennonist likes this.
  6. 87.and.cry

    87.and.cry New Member

    Location:
    Italy
    Why the Scranton pressings have lower matrix numbers than Los Angeles pressings? It seems that the East Coast set was cut before the Los Angeles set.

    Scranton: F17-G18-F19-G20-F21-G22-F23-G24; Los Angeles: F25-G26-F27-G28-F29-G30.
     
  7. ROFLnaked

    ROFLnaked Well-Known Member

    Location:
    California
    This.

    (Disclaimer: for those who are uninterested in the trivialities and minutiae of the original '66 Pet Sounds pressing details, you may want to click the "back" button and move onto another thread.)

    With that out of the way, I have 4 nice original mono copies of Pet Sounds that all sound about the same; that is, not great for critical listening but fun as hell for playing on an old tube dedicated mono system. My idea is to pare the 4 down to 1. Of my four, one is an LA pressing and the other three are from Scranton. Of course I like the West Coast pressing for sentimental reasons, but I am determined to go with whichever of the four has the "earliest" matrix numbers.

    From monitoring sales on the popular auction site, each and every LA-pressed promo copy offered over the past year or so has had -G28/-G30 stampers, just as my own LA non-promo copy does. It would seem logical that the -G28/-G30 would thus be the earliest. Why, then, are all the other matrices lower than that (i.e.; -F17 or -G26)? Yes, I understand about the "F" being the master Scully and the "G" being the slave, but what I'm not finding anywhere is info as to the rhyme or reason behind the matrices. Why are the PA numbers lower than the Los Angeles numbers, and why are the promos always -G28/-G30?

    I will now go back to hanging upside down in the closet while I await your responses. Thank you.
     

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