▁Nik ▁Ven et ▁being ▁cred ited ▁for ▁producing ▁their ▁early ▁record ings . ▁He ▁preferred ▁mixing ▁live ▁as ▁performances ▁were ▁recorded , ▁as ▁opposed ▁to ▁mixing ▁after ▁the ▁fact . ▁He ▁was ▁open ▁to ▁changes ▁suggested ▁by ▁others ▁while ▁recording , ▁often ▁taking ▁advice ▁and ▁even ▁incorpor ating ▁apparent ▁mistakes ▁if ▁they ▁provided ▁a ▁useful ▁or ▁interesting ▁alternative . ▁On ▁Sur fin ' ▁U . S . A . ▁( 1 9 6 3 ), ▁Brian ▁began ▁double track ing . ▁As ▁was ▁pract iced ▁by ▁other ▁record ▁produ cers ▁from ▁the ▁ 1 9 6 0 s , ▁most ▁of ▁his ▁mix es ▁ended ▁up ▁in ▁single - channel ▁mon a ural , ▁bel ieving ▁that ▁varied ▁s tere o ▁speaker ▁pla cement ▁took ▁his ▁control ▁over ▁the ▁sound ▁image ▁away ▁to ▁the ▁listener . ▁ ▁Using ▁major ▁Hollywood ▁recording ▁stud ios , ▁Wilson ▁arranged ▁many ▁of ▁his ▁compos itions ▁for ▁a ▁con gl omer ate ▁of ▁session ▁mus icians ▁inform ally ▁known ▁as ▁the ▁W reck ing ▁C rew . ▁Their ▁assistance ▁was ▁needed ▁because ▁of ▁the ▁increasing ly ▁complicated ▁nature ▁of ▁the ▁material . ▁Wilson ▁said ▁that ▁he ▁" was ▁sort ▁of ▁a ▁square " ▁with ▁the ▁W reck ing ▁C rew , ▁starting ▁his ▁cre ative ▁process ▁with ▁how ▁each ▁instrument ▁sound ed ▁one - by - one , ▁moving ▁from ▁key boards , ▁drums , ▁then ▁viol ins ▁if ▁they ▁were ▁not ▁over d ub bed . ▁Although ▁he ▁had ▁arrang ements ▁worked ▁out ▁in ▁his ▁head ,