Q: You were a regular Gold Star visitor and customer for many years. 'Help Me, Rhonda." Capitol did have a good violin sound. I did things at RCA with engineer Dave Hassinger. Sunset Sound also hada great tack piano, too. Western had a good bass sound and a better vocal sound. Western had a big room, and Phil Spector was over at Gold Star. Tell me I’m an idiot! I just didn’t like the vocal sound, so we switched over to Western, and Gold Star. I liked the Capitol rooms, and I liked the instrumental sound, but I didn’t like the vocal sound. We’ve chatted about this before, but did you split from Capitol to other local studios? Was it because you wanted to be away from under the watch of the record label located in the same building? Their underground echo chamber is in the parking lot and was designed by Les Paul.Ī: I didn’t like recording there and not because it was too close to the label. Q: I know your early Beach Boys albums for Capitol Records were done inside studios at the company. We didn’t know what it was going to sound like. Q: Were you aiming for a sound when you began SMiLE?Ī: We weren’t going for a sound when SMiLE started. “How ‘bout if we had a little more pick on the bass?” “How ‘bout if the piano had more of a tacky sound.” Chuck Britz was like a co-producer but only got credits for being an engineer. “People like Chuck Britz made suggestions. They are good at music and engineering, too. Then, Bruce Botnick at Sunset Sound, along with several engineers at Columbia, including Ralph Balantin and a session for “Vege-Tables” with Armin Steiner at his studio.Ī: The best trip is that they know music. Q: How about working with engineers like Chuck Britz at Western, Stan Ross and Larry Levine and Doc Siegel at Gold Star. It became an environment to record music. Q: During Pet Sounds and then SMiLE, the recording studio became an instrument.Ī: Yes. Harvey Kubernik Interviews Brian Wilson Part 2
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