Відео

I’m in the process of making a high quality download available now!

@@omne1008 Impatience is my second middle name. I try to hide it from you. Please do not hurry, I can wait.

@@omne1008 Second this! Would love to have a high quality version of this mix.

@@deepbreather Thank you for the kind words. Making this put me in a similar state, and reaffirmed to me the legend of the unreleased state. Not only does it live up to expectations but also defy them.

@@omne1008 Perhaps the song sequence is one of your greatest achievements in the mix. I think I need a space where I can ventilate my joy on a daily basis without annoying other UA-camrs. My middle name is longtext. Where can I find you elsewhere? Are you there?

@@deepbreather no worries, commenting in this comment thread won’t affect other users, just me. Besides, I would rather you answer on here as other enjoyers would love to hear your review too, would they not?

@@omne1008 Omne sounds familiar. I've been listening to your downloads for a few years. But I can't find anything back, now. Have you deleted some? Never mind. I lost track of your work. For instance, I've never before seen your stereo Smile. Strange. Perhaps obsessed with Dae, Nameless, Gwaunch, the Mexican bunch Et Al? Who knows? Anyway, I started listening two days ago and was instantly absorbed by this mono album. Mono can have an incredible depth of sound. Connect only one speaker and concentrate on that old Miles Davis, prestige 7109, for a start. You can hear exactly who is in front and who is in the back, almost by the meter. Impossible in stereo. I'm not a monomaniac, I swear, but this convinces me immediately about your mix: depth, with some of the choruses halfway in the back. A new, old pleasure. Mono madness must be in the air these days. Bowman's BWpresentsPS prepared me. Can new techniques make mono worthwhile again? Just wondering. The pivotal moment two days ago in that first listening session was the start of Open Country (=IIGS+Barnyard) starting with sole TSS instruments without Durry's acetate. I crinched. Luckily the Durry appeared later, modest and not in the foreground, contrary to what I always imagined. A much better solution as the sole instruments in start and finish suggest a real open country. My obsession with this track is resolved and gone. Great. Wide open. Please do warn me when my epistles and middle name, get tiresome. Thanks. My praises have not changed. This IS Smile. You and I know very well the time will come when new mixes appear and steal our hearts, sooner or later. The nameless guy is a contender. I even wish you had used some of his downloads. Let's discuss this another day. Ok? Talk to you later. Right on.

@@deepbreather Thank you again. Slotting the Durry Parks acetate in there was first troublesome too, but as you said, it works much better when presented in the background to the main instruments present in The Smile Sessions. No, I haven't deleted any of my mixes. It's most likely possible you might have seen my other mixes on occasion. As for the depth of sound created by mono in the mix, I wholeheartedly agree. After a while of trying to mix this album in stereo, I flipped the project on its head and mixed it specifically into mono instead, grounding the songs and reaffirming how this album was meant to be listened to. And finally, I wouldn't worry about the length of your messages. Compiling and mixing this was a labour of love, and me purposely not stating the changes I made are not only so listeners can discover if their favorite part made it into the mix, but discover the changes in real time. I look forward to our next talk.

Heroes and Villains: if you saw my video on this sole version, you already know the structure. First 2 Verses (Brian + Mike) - A Capella Verse - Cantina - Chorus (full instrumental arrangement, organ + bass) - Children Were Raised (ver 1) - Jive to Survive + Stand to Fall - Exploding Whistling Bridge - Sunny Down Snuff - Chorus - Prelude to Fade. First of all, Mike's vocal on the Call and Response adds amazing contrast to Brian's smooth voice, making the verses much more punchy. In addition, the full instrumental arrangement with both the meandering bass and droning organ on the chorus creates such a whimsical yet sinister atmosphere. The first version of the "Children Were Raised" verse picks up quickly following that, rushing into "Jive to Survive" and "Stand To Fall', finally ending off on the "Sunny Down Snuff" verse. This provides 3 full verses which mirrors the 3 verses at the beginning of the song (2 verses + A Capella), grounding the song with solid structure. Finally, I prolonged organ sustains from the choruses into the verse/fade to connect the sections.

Thanks again!!

@@user-og1tk1yi5c thank you! This album just sounds so much better in mono for me.

@omne1008 absolutely. you haven't listened to the beach boys til you hear them in mono

@@user-og1tk1yi5c The Beach Boys sound so much better in mono. Thanks for your generosity in creating this version and sharing it with us. Smile is my favorite album of all time.

@@camotm5090 yep. One acted as the backing vocals while the dae lims one became the lead, utilizing both of brians ideas and filling out the song.

One of the band’s many weird sounds they’d make throughout the recording of this album

Thank you!

You have it backwards. Brian made the first/original versions of "Cotton Fields" and "Come Go With Me", then Al took those versions and polished up the tracks to sound more commercial. Especially with "Cotton Fields", you can hear how Al adapted and expanded upon a lot of Brian's arrangement ideas. In fact, Al was the one that asked Brian to try and cover "Cotton Fields". Al would later say that Brian did a pretty good job, but Al felt with more work it could be a big single.

Hey, pal

Nobody asked like stfu

Literally no one asked 😹