Did not Phil Specter do the same thing back in the 60's so his hit
songs would sound "good" on crappy AM car radios?
Charlie
On Thu, Mar 21, 2013 at 6:47 PM, John Hermanson <omtech1@xxxxxxxxxxx> wrote:
> 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.
> 21 South Ln., Huntington NY 11743
> 631-424-2121 | www.zuiko.com
> Olympus OM Service since 1977
> Gallery: www.zuiko.com/album/index.html
>
> 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.
>>
>
> --
> _________________________________________________________________
> Options: http://lists.thomasclausen.net/mailman/listinfo/olympus
> Archives: http://lists.thomasclausen.net/mailman/private/olympus/
> Themed Olympus Photo Exhibition: http://www.tope.nl/
>
--
_________________________________________________________________
Options: http://lists.thomasclausen.net/mailman/listinfo/olympus
Archives: http://lists.thomasclausen.net/mailman/private/olympus/
Themed Olympus Photo Exhibition: http://www.tope.nl/
|