Originally posted by Raphie
Bull, there is nothing to stand out, it's plain earache,
Also note that people don't provide "Beatport Snippets" whatsoever
Labels can only upload 44.1/16 masters, through the tool and Beatport does the rest at their own discretion (lower bitrates & streaming samples)
1) overcompress track
2) upload to beatport
3) Track is now just as loud or louder than the rest of the tracks on beatport
4) ??? (Dumb ass dj's who think that a track is better because it's louder)
5) Profit
And about the beatport snippets... No sherlock.
Subtle
Overcompression works in clubs in which the music is intended.
derail
quote:
Originally posted by Subtle
Overcompression works in clubs in which the music is intended.
Back in the mid to late 90s the much, much less compressed stuff worked extremely well too. Heaps of energy, hard-hitting, all that. Club music doesn't require anywhere near today's amounts of compression to work on the dance floor.
Rodri Santos
quote:
Originally posted by derail
Back in the mid to late 90s the much, much less compressed stuff worked extremely well too. Heaps of energy, hard-hitting, all that. Club music doesn't require anywhere near today's amounts of compression to work on the dance floor.
This. When you go to a real big club or festival there's no difference between a new and an old track all sound alike, in fact sometimes in recent music the kicks are so wild that completely cancel the rest of the elements and you barely hear high pitched notes and the hats.
And if you play a set fully consisting in old tracks people won't notice the difference either, since old music is less compressed you can push the volume a little further without seeing red lights what ends being the same but the dynamics are widened.
DJ Robby Rox
I do hear it but I don't think its nearly as offensive or common as people claim. Like the people who find 1 or 2 points of a song that clip and go onto say "damn that track sucks cuz its overcompressed". I couldn't even hear the so called "crunch" in that one track that was submitted.
And I love how the first point he marked was basically a crunchy hat at isolation (when other sounds actually drop out).. and then he says "you hear the crunch? thats clipping" like wtf. I am I suppose to distinguish crunchy clipping from crunchy hihats? I don't know it just didn't seem obvious by any means, seemed try hard, and I think thats precisely what Kysora is talking about.
Lets not forget this is a "war". There are petty ing purist type people who are so scared to clip a sound they keep their masters at -12db. And then there are people like me who push a sound hard and don't really care if it occassionally clips, as long as its not obvious or happening frequently. I mean sure there are some songs that have been compressed to death, but I see the remarks so often on this forum the only word that can possibly come to mind is "petty".
Morvan
Seriously? The track in the third post is completely overcompressed and you should hear it at at any point in the track. It's horrendous. Turn down the volume of your system and just listen how it lacks the essential microdynamics.
DJ Robby Rox
Ok well I had originally fast forwarded right to the first instance you mentioned clipping and didn't hear it.
Are you talking about at 3:50 when the hats are isolated or when the beat drops back in and it starts clipping?
Yeh I was wrong the entire song sounds like that was my fault because I heard the first 15 seconds which did not sound overcompressed then fastforwared it to an isolated hi hat and thats all I heard. It wasn't till I went back and heard the beat drop that I heard the clipping.
I'm transfering the file over to my sequencer to look at more closely then am putting my headphones on.
DJ Robby Rox
Actually I think something else is going on though.
I looked at the track and sure you can clearly tell its overcompressed.
But again I went to 3:50, looped it over and over and there is no evident distortion at all of any kind. Even looking at the waveform the overall volume of the track drops (just a little bit) and I can not hear clipping untill the beat actually drops in.
Now this is not to make excuses its a rational question. I have had a terrible sore throat and head cold for 4 days now. Today it felt like the cold finally "broke", and I've still been congested but have felt a lot better. I haven't noticed any change in my hearing at all, but I sit hear with the tracking looping over and over at that point and still hear nothing but the bass and some noise that is in the bassline. I don't think its possible my hearing has been that affected by a cold. But what I'm saying is at 3:50 you are not hearing distortion or clipping, you're hearing noise in the bassline, thats intended to be in the bassline. The rest of your post was on point though maybe having a lot of snot in your nose can affect your hearing idrk. I'm also not myself as I didn't even notice I was trying to start an arguement with Eric lol.
But go back to that point are you refering to the noise? Otherwise if not I'll have to assume I've been deafened by the cold.
Mise
! that is ridiculously compressed to hell!
theterran
:confused:
Don't clubs have volume knobs or something? If I want something louder in my truck I typically turn the volume up...*maybe I'm missing something*
And the track in the third post is quite fatigue inducing indeed...How is that pleasant to the masses? I can hear the compression clearly through a ty old dell and a single logitech speaker...Wouldn't have thought to myself "oh derp over-compressed," I woulda thought "Ow, that hurts my ears, that sounds like garbage." I'm glad I know what blatant over compression sounds like now.
Thank you thread, for clearing that up <3
Sparks the thought...Gonna start collecting examples of what not to do in terms of production.
Seandroid
quote:
Originally posted by Eric J
The tracks clips all over the place, but the points in time I mentioned on my first reply are good examples.
In that track there is clearly noise on the bassline that is intentional, but that's not what I am referring to.
OK, so do this: listen to how little difference in volume there is between any part where there everything is playing and the break. Breaks are generally supposed to be significantly quieter, but on this track it just stays at roughly the same level.
Why is this bad you ask? Well because before this trend came along, there was a point after a break when it came back in it just hit you like a ton of bricks. That was a direct result of the contrast between the quietness of the break and the ramp up to "full on" when everything is playing. It only has impact because of the difference in dynamics. Somewhere along the line that disappeared.
OK, so I'll give you another example. In this one, there is no distortion, but you can clearly hear a compressor on the master channel acting on several parts of the song. Before anyone thinks this is because I "don't like trance" or whatever, I freakin LOVE this track, but I can't play it because its compressed to hell and sounds like ass. And trust me, it ain't YouTube, the file purchased from Beatport has the same problems I'm about to describe.
Nothing frustrates me more then to get all excited to drop a track into a mix, then load it up and find this crap. And it's even more frustrating because it's a banger track! I love this freaking track, but I can't freaking play it.
OK, so listen to it at 4:00 through the build up and drop at 4:18. Notice how little impact the drums have when they come in? This is because the break was at full volume, and when the drums come in they dont have any headroom to operate, so the compressors on the master channel just compresses harder. Hear how this track never "breathes", how it never gives you a chance to catch your breath? Its just slammed all the way through.
Listen to the kick when it comes in at 5:05 after that little mini break. Notice how the little synth pattern that was playing before gets quieter? Yeah, thats because the compressor is so slammed that its having to crush the crap out of it when the drums come in, making the little synth part even quieter because it needs room for the drums.
Listen at 5:55 where the full drums come in and the chorus sample plays ("All that i need..."). The level of the voice is clearly quieter than earlier in the track when there was less going on. Again, the compressor is just crushing the out of this track.
Listen at 6:27 when the drums drop out again, you can actually HEAR the compressor clamping down and releasing in time with the synth pattern.
No, no this is unacceptable, plain and simple, there is no excuse for it. Either the mix or mastering engineer screwed up, or the label and artists didn't bother to check the track after it was mastered (it happens all the time). Either way, somebody ed up and now a great track is ruined because someone couldn't take 5 minutes to check the ing master before sending it to Beatport. I know people get busy, but come on. I'll bet Nic probably noticed it at some point after the release, but it can take weeks to push changes through on Beatport, and getting a track removed or replaced is nearly impossible.
Every time we put something out under our Mario & Eric J alias, Beatport screws it up and lists us a separate artists, like the ampersand is some type of delimiter, and I have to freaking email them about it every time. We even got a dedicated rep who pretty much knows everytime she gets an email from me what the problem is, because I've had to correct it so many damn times.
Sorry for the rant, but I've been through it and well, lets just say its frustrating.
Wow, that track is aaaaaaawwwwfuuuuuuuullllllly mastered! Is that a release track? I've never heard anything that bad on a released track before but I generally listen to house/electro.
That's ridiculous, that synth gets SO much quieter when the kick drops in... How did they not notice that when they were mastering the track.....?
