One of the best, if not, the best, pre-pet sounds Beach Boys singles getting a remix that absolutely brings out its greatness. You’ve hit it out of the park again!!
Wow, another dream come true - this OUTSTANDING single in stereo, sounding radically improved from the flat mono release. How this didn’t go top 5 in the singles chart is something I’ll never understand … I’ve heard the theory that the few seconds of dead air doomed the single - well, explain then how Herb Alpert’s TASTE OF HONEY became a massive smash despite having similar dead air. In any event, this stereo creation is a joyous occasion. Thank you!
That Ai Stereo crap uses the same tech! This has way more artifacts than SOS does. I can hear them. Comment by telling us you don't understand how this all works by commenting and pissing on Mark's mixes.
I just pulled down the upper mids on this slightly because it's a bit brash for my ears (just like the original 1966? mono mix is)... and the results are stunning. It's a lot warmer that way. Really glad you did this mix, thank you! This is a great addition to the collection!
I did that along with slightly boosting the bass and highs to give it more of a "full-fidelity" sound. Sounds terrific. Nothing against Dae's version though, as it sounds EXACTLY like the single - but in stereo. I just always thought the single sounded a bit harsh. Now, it's perfect.
Beach Boys Today! and Summer Days (And Summer Nights!!) were, artistically, halfway between everything the Beach Boys had been and Pet Sounds. The Little Girl I Once Knew was halfway between Today/Summer Nights and Pet Sounds. It was that one more step toward Brian's vision of the perfect album. The lyrics still have one leg firmly in the "innocence" period (1961 - 1964), but the music is full-blown, intricate, pop music art. Had Tony Asher written different words for it, it would fit Pet Sounds like a glove. As crucial a standalone single to the Beach Boys as Paperback Writer/Rain was to the Beatles.
The way that bass (and basses) were recorded is the best of all time. Mixing precisions, bass vi’s and uprights altogether 🤯🤯🤯 Your uploads get me through the day and I can’t say thank you enough, sincerely!
Just throwing this request out there for the hell of it because I recently found out this cool information. Apparently the Beach Boys were supposed to sing on three tracks from Pink Floyd's The Wall, these tracks being "The Show Must Go On", "In the Flesh?", and "Waiting for the Worms". It would be so damn cool to hear what this crossover would've sounded like. Great work again as well! Beautiful mix.
Fun listen! Thank you! I always wished they did something more with the drums in the arrangement after the first verse, like how the "Carol K" session clip on Hawthorne, CA.
Song with incredible potential finally reveals itself as equally raw and beautiful, giving me sunday-morning happinez. This is an automatically AI-generated response.🤖
Roxy 99 arrangement with 65 sonics, fantastic! Those weird tape edits to the silent sections on the original always drive me crazy. Only Brian would have made dead air the most exciting part of the song
I know this is off topic with this track but I’ve always loved the ending of Wind Chimes, I turn it up as it fades away, with the choir like harmonies. Would love an extended version of that for a minute or two. Great mixes thank you.
My favorite use of Ai is things people like Dae Lims do, where they use AI as a tool to make something better, better example for me is also The Beatles using AI to extract the voice of John Lennon and using those tracks
Any chance you’d do a remix of Please Let Me Wonder? The harmonies in the mono mix seem to get muddied up and it would be magical to hear them like this
Just realized you did what I always used to do with my old DAW mixes of this one and “At the Drive In”, you put the dead drops in time! (Actually Drive In is technically in time, it’s deceptive because it stops on the 1, cuts for just shy of 2 bars and Mike comes back in weird…but I always thought the break was too long) Since literally NOONE asked….lol
I'm quite sure Brian liked hard cuts and used them deliberately as an avant-garde effect, since they're all over Smile, Smiley Smile and Wild Honey. Even one or two on Pet Sounds
@@tomchristie3199 the intentional edits are great. this was an accidental splice that they had to drop the tape out for a moment to cover. The one that Todd Rundgren hilariously recreated, which Brian thought was funny….
@@tomchristie3199 it is somewhere between :59 and 1:10 ish. Maybe just slightly after. I’m at work right now or I’d listen myself. If you can’t find it I’ll link u later. Check it out. We had to work on spotting it and giving verbal feedback on it in engineering/spectral mastering class in school… as part of ear training. It is literally a fractional sample the size of a quantize loss now. But oddly visible once you spot it. Maybe less than a 64th. There might even be a second one, that I can’t remember. I just remember that class sticking out, because working on the BB was cool.
I don't like some of the choices you've made here. I'm too used to the mono mix and the 2012 mix to embrace this just yet. I liked how loud the keyboards and the bells were in the original mix, but you've buried them too much. I also think when you have so many things panned 100% left or right you lose that power from the harmonies when the choruses hit. It's overall a weaker impact for the listener.
The Beach Boys' voices are always too upfront in the mix; I've never liked that. I don't understand why no one fixes it. Even George Martin mentioned it at one point regarding the Beach Boys, but it was something bad, not good, that the voices were so upfront. I don't think they've ever corrected that mistake. And when they did try to lower the voices in the mix, they got lost in the echoes, distracting and sounding like they were on a channel overlaying the other channels. So, it was the same problem but with lower voices. They could never fix that.
I'm a fan of a lot of the stuff you've done, but this mix is straight up terrible. Never thought it would be possible to ruin one of my favorite BB songs.
![The Beach Boys - The Like In I Love You (Early 1970's) [AI]](http://i.ytimg.com/vi/N1PHUL9uzLc/mqdefault.jpg)
![The Beach Boys - The Like In I Love You (Early 1970's) [AI]](/img/tr.png)
![The Beach Boys - Don't Forget The Sun [AI]](http://i.ytimg.com/vi/dLAIQiF-a6k/mqdefault.jpg)
One of the best, if not, the best, pre-pet sounds Beach Boys singles getting a remix that absolutely brings out its greatness. You’ve hit it out of the park again!!
Fabulous remix. Gives it real depth. Aural 3D.
Such an underrated gem!!!
Dae Lims may not be pregnant but he never fails to deliver 👏
He's a midwife
This does not eliminate the possibility of him being pregnant.
@@thevideocommenter3061 "Him" and "pregnant" don't compute
@@camioso wait till i find your dad
@@camioso not with that attitude.
one of my fav BB tracks shines brighter than ever❤
Love hearing the guitar so clearly
Thank you for the disclaimer regarding the use of A.I. in this concoction.
Wow, another dream come true - this OUTSTANDING single in stereo, sounding radically improved from the flat mono release. How this didn’t go top 5 in the singles chart is something I’ll never understand … I’ve heard the theory that the few seconds of dead air doomed the single - well, explain then how Herb Alpert’s TASTE OF HONEY became a massive smash despite having similar dead air. In any event, this stereo creation is a joyous occasion. Thank you!
Been a HUGE Beach Boys fan since the early 60s, but I feel like after listening to a lot of Dae Lims creations, I've discovered them all over again.
someone seriously needs to hire you, this is soooo much better than the AI stereo crap on sounds of summer
That Ai Stereo crap uses the same tech! This has way more artifacts than SOS does. I can hear them. Comment by telling us you don't understand how this all works by commenting and pissing on Mark's mixes.
@danerd8978 sorry can't hear you over the sound of my piss, go listen to surfin' safari again
He even got rid of the background fuzz!! Thank you Dae Lims!!!
Excellent remix of what might be my favourite Beach Boys single! Kudos!
I just pulled down the upper mids on this slightly because it's a bit brash for my ears (just like the original 1966? mono mix is)... and the results are stunning. It's a lot warmer that way. Really glad you did this mix, thank you! This is a great addition to the collection!
i agree with this and i agree that you solution is a good one
I did that along with slightly boosting the bass and highs to give it more of a "full-fidelity" sound. Sounds terrific. Nothing against Dae's version though, as it sounds EXACTLY like the single - but in stereo. I just always thought the single sounded a bit harsh. Now, it's perfect.
Excellent sound and really brings out those sounds once buried. Great job and thank you Dae Lims!
Big fan of this! Although I'm blown away that no one has noticed how much faster this version is.
Beach Boys Today! and Summer Days (And Summer Nights!!) were, artistically, halfway between everything the Beach Boys had been and Pet Sounds. The Little Girl I Once Knew was halfway between Today/Summer Nights and Pet Sounds. It was that one more step toward Brian's vision of the perfect album. The lyrics still have one leg firmly in the "innocence" period (1961 - 1964), but the music is full-blown, intricate, pop music art. Had Tony Asher written different words for it, it would fit Pet Sounds like a glove. As crucial a standalone single to the Beach Boys as Paperback Writer/Rain was to the Beatles.
I listen to this song a lot and your mix really brings out the details in each instrument and balances them well.
Amazing high quality stuff
The way that bass (and basses) were recorded is the best of all time. Mixing precisions, bass vi’s and uprights altogether 🤯🤯🤯
Your uploads get me through the day and I can’t say thank you enough, sincerely!
Just throwing this request out there for the hell of it because I recently found out this cool information. Apparently the Beach Boys were supposed to sing on three tracks from Pink Floyd's The Wall, these tracks being "The Show Must Go On", "In the Flesh?", and "Waiting for the Worms". It would be so damn cool to hear what this crossover would've sounded like. Great work again as well! Beautiful mix.
Also worth noting, Bruce Johnston and Toni Tennille do sing on the official recording!
@@ugeanspyrll6816 Yes! I forgot to include that, it's awesome just that even managed to happen.
I was very surprised when I saw that Bruce Johnston was credited on The Wall
Love this song! It doesn't get talked about enough. Nice job with the mix.
Beautiful ❤❤❤❤
The greatest Beach Boys intro, imo. Bravo yet again, Dae Lims 👏🏻
Fun listen! Thank you! I always wished they did something more with the drums in the arrangement after the first verse, like how the "Carol K" session clip on Hawthorne, CA.
Now it certainly fits on Pet Sounds.
Magic!
I never really noticed Mike Love's solo vocal under the 1st organ solo before.
Absolutely incredible! Thanks so much for this.🔥
Song with incredible potential finally reveals itself as equally raw and beautiful, giving me sunday-morning happinez.
This is an automatically AI-generated response.🤖
Beautifully executed.
Great stuff, as always
Great job man!
Fantastic work as always
Finally, my dream come true...❤ suck it, Capitoool
Thank you for your work
Roxy 99 arrangement with 65 sonics, fantastic! Those weird tape edits to the silent sections on the original always drive me crazy. Only Brian would have made dead air the most exciting part of the song
I know this is off topic with this track but I’ve always loved the ending of Wind Chimes, I turn it up as it fades away, with the choir like harmonies. Would love an extended version of that for a minute or two. Great mixes thank you.
fuuuuuuck yes. you're a godsend Dae
Tremendous! 😊❤
much better mixing
Would you ever consider posting your Love & Mercy Remix on google drive or something? I really liked it, and I'd like to be able to download it.
this (x2)
It's on the internet archive, no?
@@TestTheCoals69 oh, it is?
@@TestTheCoals69 I just found it, and wow, everything is on there. That's incredible. I love the Internet sometimes.
FIREEEEE
How about a FLAC or WAV download link?
My favorite use of Ai is things people like Dae Lims do, where they use AI as a tool to make something better, better example for me is also The Beatles using AI to extract the voice of John Lennon and using those tracks
You cleaned up the sloppy timing. Bravo!
Any chance you’d do a remix of Please Let Me Wonder? The harmonies in the mono mix seem to get muddied up and it would be magical to hear them like this
El sonido de Summer days en una canción:
😮
🎉🎉🎉🎉
Is there a lossless version kicking around somewhere?
formally requesting/manifesting Chain Reaction of Love with young Brian vocals
Tendrías que hacer el pet completo con ai
Just realized you did what I always used to do with my old DAW mixes of this one and “At the Drive In”, you put the dead drops in time!
(Actually Drive In is technically in time, it’s deceptive because it stops on the 1, cuts for just shy of 2 bars and Mike comes back in weird…but I always thought the break was too long) Since literally NOONE asked….lol
So cool! I know you don't like requests but could you do 'Now and Then' by The Beatles as if it was finished in 1995/produced by Jeff Lynne?
I prefer the version without Mike Loves bow bow bows 1:43 ..
now we need a stereo be true to your school
Can you provide a pre-accident Jan Berry lead vocal to one of the original songs on his Second Wave solo album?
Hey, if we’re doing tiny fixes, would you mind fixing the splice edit on the Good Vibes track?
I'm quite sure Brian liked hard cuts and used them deliberately as an avant-garde effect, since they're all over Smile, Smiley Smile and Wild Honey. Even one or two on Pet Sounds
@@tomchristie3199 the intentional edits are great. this was an accidental splice that they had to drop the tape out for a moment to cover. The one that Todd Rundgren hilariously recreated, which Brian thought was funny….
@@inthetraffic When in GV is that? I don't think I've noticed it before
@@tomchristie3199 it is somewhere between :59 and 1:10 ish. Maybe just slightly after. I’m at work right now or I’d listen myself. If you can’t find it I’ll link u later. Check it out. We had to work on spotting it and giving verbal feedback on it in engineering/spectral mastering class in school… as part of ear training. It is literally a fractional sample the size of a quantize loss now. But oddly visible once you spot it. Maybe less than a 64th.
There might even be a second one, that I can’t remember. I just remember that class sticking out, because working on the BB was cool.
"Promo sm"
I think a wild honey era beach boys cover of We’ve Got A Groovy Thing Goin’ by s&g would be fantastic
I don't like some of the choices you've made here. I'm too used to the mono mix and the 2012 mix to embrace this just yet.
I liked how loud the keyboards and the bells were in the original mix, but you've buried them too much. I also think when you have so many things panned 100% left or right you lose that power from the harmonies when the choruses hit. It's overall a weaker impact for the listener.
The Beach Boys' voices are always too upfront in the mix; I've never liked that. I don't understand why no one fixes it. Even George Martin mentioned it at one point regarding the Beach Boys, but it was something bad, not good, that the voices were so upfront. I don't think they've ever corrected that mistake. And when they did try to lower the voices in the mix, they got lost in the echoes, distracting and sounding like they were on a channel overlaying the other channels. So, it was the same problem but with lower voices. They could never fix that.
The final chorus doesn't quite hut as hard as is does on the mono, seems like a stereo muc of the day which is a fair achievement in of itself
I'm a fan of a lot of the stuff you've done, but this mix is straight up terrible. Never thought it would be possible to ruin one of my favorite BB songs.
Lol.
this is probably one of the best fan stereo mix i’ve heard so far