and if the artist wants his sound "loud" and upfront so it sounds "good"
in mp3, that's the way they go. yech, mp3...
___________________________________
John Hermanson | CPS, Inc.
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631-424-2121 | www.zuiko.com
Olympus OM Service since 1977
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On 3/21/2013 5:35 PM, Paul Braun wrote:
> On Thu, Mar 21, 2013 at 1:55 PM, Ken Norton <ken@xxxxxxxxxxx> wrote:
>
>>> Doesn't stop me from wanting to punch the mastering engineer in the face,
>>> though.
>>
>> Can't always blame the mastering house. We're seeing what is given to
>> the mastering engineer something that already is already "Finalized".
>> Unfortunately, everybody is using ProTools today and we're throwing
>> every plugin made at every song. It's hideous. I'd love to see these
>> guys try to do a two-channel live mix without substitutions and
>> side-chaining effects. (of curse, I can't live without my side-chain
>> effects, but I'm, uh, "mature" about using them--grin).
>>
>> Hee hee....
>
> I have to agree. Too many mix engineers just get "MegaSquash 3000" plugins
> and think they can out-do the mastering engineer. Rush's "Vapor Trails",
> for example... classic example of a binary waveform, but according to an
> interview I read with Lifeson, they can't really do much about it since the
> original multitracks have digital distortion on them and even mastered
> properly, would still sound sub-par. Sad, especially given a band of
> Rush's caliber.
>
>
>
>> But, in all fairness, I'm not sure it matters much. The average
>> listener thinks that MP3s and YouTube videos sound great. (And, no, I
>> totally disagree with Ken Rockwell on Apple's compression).
>>
>> And sadly, the average listener today is listening through $15 earbuds.
> Kinda negates what the engineer listening on $15,000 monitors can do, huh?
>
>
>> My biggest grouse is the amount of "compressor pumping" were getting
>> on otherwise well-produced stuff by top artists. It makes me wonder if
>> the current trend away from near-field monitors to mid-fields has
>> changed the ability to discern this. And if the listening levels are
>> so high (I could swear that the typical mix engineer is deaf these
>> days) you're not going to hear it either.
>>
>>
> Agreed. Used to be an occasional thing, like Steve Perry's vocals on the
> Journey albums. But now you can definitely hear comps slamming on pretty
> much everything.
>
--
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