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Modern mastering sounds like ass
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| MrJiveBoJingles |
It just does.
It infuriates me to see people jizzing themselves on forums over how loud their favorite "pros" can get their tracks by squashing them in a limiter and EQing every last sound to death. It's to the point now that I prefer the sound of old vinyl rips to the sound of digital re-releases of old records, which often sound like they have been thrown through a compressor at a high ratio in order to keep them in line with "today's sound" -- "today's sound" being hypercompressed ass.
This is Max Graham's mix of Tilt - "Twelve." Notice how two thirds of the way through the volume builds up. That's because it's a crescendo and the emotional and energetic climax of this particular track. The volume is supposed to build up in a crescendo. That's what "crescendo" means. A generation of musical retards is unaware of this because for all their short musical lives they have been listening to records that have been turned to ass through poor mastering practices, where every part is as loud as everything else and the breakdown is as loud as the parts with the kick and all the percs, and think that a track with a kick that peaks at anything less than -1dBfs could not possibly "rock a club." Well, maybe it could not penetrate into their iPod-deafened ears and brains.
End rant. |
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| Beyer |
| I agree with you mate.. Stop this squashing nonsense! |
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| MrJiveBoJingles |
| BTW, Tilt's "Twelve" was released in 2005. There are bad examples from that time period as well, but the trend has gotten significantly worse in just the past four to five years, IMO. |
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| Richard Butler |
If you want to start a new dynamics / quieter label - start one.
:toothless
Seriously, I'n not having a go, but just wonder why people don't seek to fix a whole if they think it needs fixing. Elton John bemoans the modern sound - so why does'nt he show us a new way with his own label and academy then?
I like the energy of modern music - above&beyonds track 'Miracle' I saw on a scope and it was way less dynamic than the one you post, totaly squashed to death but it still sounds nice and emmotional.
The track 'love the city - detroit' whatever it is, is an awesome lesson in pumpaliscious energy and way compressed. |
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| Beatflux |
| quote: | Originally posted by Richard Butler
If you want to start a new dynamics / quieter label - start one.
:toothless
Seriously, I'n not having a go, but just wonder why people don't seek to fix a whole if they think it needs fixing. Elton John bemoans the modern sound - so why does'nt he show us a new way with his own label and academy then?
I like the energy of modern music - above&beyonds track 'Miracle' I saw on a scope and it was way less dynamic than the one you post, totaly squashed to death but it still sounds nice and emmotional.
The track 'love the city - detroit' whatever it is, is an awesome lesson in pumpaliscious energy and way compressed. |
Are you sure you aren't an A&B fanboy?
I don't think overcompression is just about the loudness war anymore. It think it offers a quick fix to sounds that don't have a sufficient texture that "pop." It isn't really so much about volume because after someone buys a track they can match up two tracks with the volume knob. |
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| owien |
| well i look at it as tools compression,eq and reverb are plugins i use at the bottom to help build things up nothing more or less |
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| Mr.Mystery |
| quote: | Originally posted by Richard Butler
If you want to start a new dynamics / quieter label - start one.
:toothless
Seriously, I'n not having a go, but just wonder why people don't seek to fix a whole if they think it needs fixing. Elton John bemoans the modern sound - so why does'nt he show us a new way with his own label and academy then?
I like the energy of modern music - above&beyonds track 'Miracle' I saw on a scope and it was way less dynamic than the one you post, totaly squashed to death but it still sounds nice and emmotional.
The track 'love the city - detroit' whatever it is, is an awesome lesson in pumpaliscious energy and way compressed. |
I seriously couldn't understand anything from this post. |
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| Ian Gomes |
| quote: | Originally posted by Mr.Mystery
I seriously couldn't understand anything from this post. |
???? I understood perfectly |
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| MrJiveBoJingles |
| quote: | Originally posted by Richard Butler
If you want to start a new dynamics / quieter label - start one.
Seriously, I'n not having a go, but just wonder why people don't seek to fix a whole if they think it needs fixing. Elton John bemoans the modern sound - so why does'nt he show us a new way with his own label and academy then? |
I have no talent, and no money to start a label to sign people who do have talent.
There are the occasional tracks that benefit from massive compression, usually stuff with a sparse, "sharp" sound like some techno where lots of compression will not distort things as much. Lush and full stuff like trance and prog does not benefit, IMO. Turning the waveform into a rectangle makes them sound like ass. |
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| Mr.Mystery |
| quote: | Originally posted by Ian Gomes
???? I understood perfectly |
I'm happy for you. |
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| cryophonik |
| quote: | Originally posted by MrJiveBoJingles
I have no talent, and no money to start a label to sign people who do have talent.
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...and another small digital amongst the countless existing labels wouldn't solve the problem anyway, especially when you consider that it is primarily the mega-labels feeding the masses excessively loud mixes that is the real problem. |
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| sako487 |
| I think that most people, subcontiously precieve louder music to be "better". If you take a quiet song and compare it to a louder, mastered track, the avrage listener would think that the song with the louder "boom" is better. |
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