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Travis

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Trindy, We recorded the three Cleveland shows and the one in LA. In Between the first show and the last show a lot of changes took place, all to make each song better. We dropped the key of a couple of songs, we fine tuned many more. We reworked harmonies and string parts and tried new arrangements. The Cleveland shows were recorded by a very good local company. The LA show was recorded by Mark Linnett, grammy winning engineer of Brian Wilson's "Smile." The shows were recorded in different formats. Mark used Pro Tools, which made it possible for him to send me stuff in the mail that I could then use my pro tools system to work on. With all due respect, which show would YOU choose? P.S. I promise you there'll be more "imperfection" than you can shake a stick at. Perfect is never the goal with a live recording. Actually, perfect isn't my goal with a studio recording, either. I'd take a sharp or flat note with great "attitude" over a perfectly sung note with none, anyday. I HATE records that sound sterile and surgical. ec

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The juicy details we are treated to on a regular basis since Eric starting posting are truly amazing.

Not that we don't deserve it after 30 years of faithful service, but it is much appreciated.

Eric has taken so much heat through the years for his "perfectionist tendencies." But who else would have thought to hire Mark Linnett to record the LA show?

Whatever them project's final form. I have no doubt that we should brace ourselves for something really special.

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AnneG   

Which show? I've only been to 3 (NYC 2x; Atlantic City), but from all reports, each show was special and remarkable. I'd select the 2nd NYC show. The first show was my first Raspberries concert, and many a song I sat with mouth dropped open (to put this in perspective, I am normally not easily impressed, and a very quiet and reserved person). Especially 'If You Change Your Mind' (subsequent performances have never impacted me the same).

The 2nd night I was giddy. Whatever ends up on the CD, I will be able to relive it again and again and again. I can wait. I'm used to perfection - my mother makes Eric look like a careless slob!!

Anne

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I saw five of the ten shows, but I missed LA and Chicago. New's Years Eve was special, they were very loose and strong that night. But I will never forget the 2nd night in New York. That was the best concert I've ever seen.

Eric, what show was the most memorable for you and why?

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Eric Carmen said:

The shows were recorded in different formats. Mark used Pro Tools, which made it possible for him to send me stuff in the mail that I could then use my pro tools system to work on. With all due respect, which show would YOU choose? ec

"Oh Dear"... Eric is tinkering with the final mix at his home studio. This could mean one of two things:

1. One of the coolest live CDs released this year or any other year?...Or:

2. The CD is delayed 8-10 years till the all parts sound "just right", and Jim's rockin' drum tracks are all mysteriously replaced with "Winter Dreams" percussion samples... winkcrazy

"The Mark of Castnill strikes again!"

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Ohhh meester Tony! You are always so the joker! I'm can't stop laughing when I reading your postis! ACTUALLY... The stuff I got was the "rough" mixes directly from Mark's studio, on a hard drive, sent via FedEx. There was quite a bit of feedback during the L.A. show that had to be dealt with. The side fill monitors were very close to the mics and that created the problem. We thought you guys might prefer a recording that didn't include a lot of high-pitched squealing at ugly frequencies which could cause brain death in pets, and severe chafing in humans. I should be done "tweaking" tomorrow and then the hardrive goes back to Mark for mixing. I'd love to be able to claim credit fro "hiring" Mark since it was such a great idea, but, in truth, he volunteered for duty. I got an email from my friend Darian of the Wondermints a couple of days before the L.A. show asking if I'd be interested in having Mark record the show. I said I'd be VERY interested but I didn't think we could afford him. Mark volunteered to record the show, and only charge us if we decided to do something with it later. I think Mark has such a great sense of our records, and music in general that HE's going to do the mixes. Thanks to modern technology, namely the telephone and the computer (Mac, of course) we will be able to swap files and discuss the mixes as we go along. And we won't be replacing any of Jim's drum tracks. "Samples" are prudent when you don't have a drummer, or enough of a budget to hire a drummer to come to the studio and hang out for months while you work out the arrangements. ec angry

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Eric, Raspberries had very high praise last night from a band that shared the "Waukesha Moment," Bowling For Soup. I took my daughter to the show last night at Winona State University (Minnesota) and she was able to get the autographs from the guys. Not nearly what a Raspberries show would be, but what the heck, young guys trying to make it. When talking with the band about the Waukesha show they were really in high praise of your show (before the rain). Great guys, very respectful of rock's history.

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JohnO   

Eric wrote - "We thought you guys might prefer a recording that didn't include a lot of high-pitched squealing at ugly frequencies which could cause brain death in pets, and severe chafing in humans."

So, Eric....this means you're taking out all of Cartmill's screeching throughout the show??? (The high-pitched nature of his cheering caused, no doubt, by your strangling him at the fan photo session?)

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I'm amazed and confused...Eric, YOU are the Pro Tools tech expert that is doing the tricky noise filtering stuff that Mark doesn't do? When did you become such an expert with the new tech? I thought you were just lounging around on the sofa the last few years...and wallpapering rooms of the mansion with uncashed "ABM" royalty checks. ;)

One more question: Are you or will you be getting any feedback on the mixes from the other 'Berries before the CD is released?

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I'm not "filtering" any feedback out of the tracks. We were doing alternate vocal takes so that if Mark can't get it out, he can grab a clean phrase from an alternate track and cut back in after the squealing is over. I am not only NOT an expert, I'm not even a novice at this stuff. I had the expert help of Paul Sidoti and Paul Santo to take care of all the technical stuff. And finally, of course Wally, Dave and Jim will all hear the mixes before the CD is released. Heck, we might even get to see the artwork! ec

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VAB5   

Uh huh. Given that, Eric, please step away from the computer before you screw it up! <img border="0" alt="[blech!]" title="" src="graemlins/blech.gif" />

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Sounds like the quality will not dissapoint even the expert ears of the studio guys like MAM and others on this board... :)

If, by slim chance, Mark is basically done, but one of the guys objects to the mix of his part or instrument when he listens to the mix late in the game, will there be time and money to make the changes, to make everybody happy?

Or has everybody given the final decision to the "Main Mix Man Mark"?

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I'm planning "individualized" mixes for each band member. Wally will get one with all his guitars way up. Dave's will be bass heavy with a little extra acoustic guitar. Jim's will sound like a Sandy Nelson record and mine, of course, will be totally derivative, with some stuff that sounds like the Who, other stuff that sounds like the Beatles and more stuff that sounds just like the Beach Boys. That way, we'll all be happy. ec

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marvin   

It certainly very interesting to hear what is taking place behind the scenes with the recording of this live cd, but out of all this information the one speck that I find the most fascinating is, the mention of Darian Sahanaja. As much as I love Brian Wilson, in my opinion, all the good musical things that have been happening with Brian over the last few years has everything to do with Darian (and to a certain degree Jeff Foskett). Darian has an incredible musical ear and, I believe he has become the true guiding light in Brian's life.

Marv

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Darian is an absolutely brilliant songwriter and I love his voice. He's one of those guys that not only knows all the really cool obscure records that I like, but also knows who produced them, arranged them, engineered them and wrote them. He's a detail guy and , I suspect, a perfectionist. You can't make records that sound the way his do unless you've spent years doing your homework. I first heard the Wondermints when I lived in L.A. back in 1992 or 1993. I think the stuff I heard was actually recorded in Darian's bedroom. It was amazing. Darian came to the L.A. show and I had a chance to talk to he and Probyn Gregory from Brian's band after the show. I'd love to work with him on something. He's a great guy. He wears his influences like a badge of honor. I like that. ec

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JohnO   

Agree with Marv abour Darian.....he's been essentially BW's latest Dr. Landy, only in a very, very good way this time. I've seen Brian live several times over the past 4-5 years, and between the doubled lead vocals (with either Jeff F. or Darian), unplugged keyboards (Brian's, that is), teleprompters for lyrics, etc. - it's obvious that there's a man or two "behind the curtain" who is/are pulling the strings behind the magic of those shows. Kudos to Darian and Jeffrey! (and of course, Brian himself, without whom, none of it would be possible in the first place....but it is 35-40 years later, and not everyone ages as well as, let's say, Eric, Wally, Dave, Jim.......)

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JohnO   

That would be "Wondermints" on the Big Deal label, 1996 (with Tracy Hide the 3rd song).....although they also "covered" it on their CD of all cover tunes, "The Wonderful World Of Wondermints", later that same year, released only in Japan on Toy's Factory.

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marvin   

Sorry for taking this off-topic, but the mention of Darian, Probyn, members of the Wondermints and Poi Dog Pondering, i.e. Brian Wilson's band, is a prime example of how an artist can re-energize their career when surrounded by talented musicians who have respect for the artist and hold the artist's work with reverance.

Marv

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While the prospect of a live Raspberries CD is exciting (and eagerly anticipated) as all get out, my desire would also be to hear a new Carmen solo disk - one that rocks ala 'Tonight You're Mine.' That would be nice.

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Yes Bob, That would be twice as nice for me too. As fun as it is to hear some new live versions of 30 year old tunes, The ultimate "Carmen Experience" is to hear a new EC composition, study it, break it down, and marvel in the melody, studio production and arrangement choices.

Listening to the slowed down arrangement of "IWBWY" on the VH1 special was close to experiencing that feeling. So a Raspberries CD of new material would be just dandy as well...

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