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RE: Why contemporary music sounds terrible



If it's on a CD it is 'digital' and thereby called 'digitally 
mastered'. The mastering engineer on those reissues uses an analog EQ 
/ compression chain.


>You know, I kinda wonder if the reason they mastered
>these new sets is because of digital, after all, those
>early Zep albums were done in analog, which brings
>back the onverly exhasted debate about digial and
>analog.
>
>Aside from that, I once read an article about Van
>Halen releasing a Best Of compilation, and some of the
>new material was mastered with no compression.  His
>reason for doing it...He wanted to see what it would
>sound like and the radio stations compress the hell
>out of them again to make for consistent volumes from
>song to song, so by leaving it uncompressed, the song
>would sound rather dynamic throught the radio
>station's compressors...clever.
>--- Charles Zwicky <cazwicky@earthlink.net> wrote:
>
>>
>>  Too bad that the remastered Zep CDs are too loud way
>>  too bright...
>>
>>
>>  >Absolutely Brian!those Zeppelin record production
>>  >still amaze me,and they are made to be turned
>>  up!those
>>  >drum sounds still sound fresh and the sounds page
>>  got
>>  >out of those small amps and guitars are the most
>>  >interesting ive heard in rock n roll history.What
>>  ive
>>  >always found brilliant about such a band was the
>>  >passion behind it,there are mistakes all over the
>>  >place like the solo on "baby i am gonna leave you"
>>  the
>>  >instrumental "black mountain side" or the bleeding
>>  >echo at the end of "you shook me" or the cut off
>>  lost
>>  >part by their engineer which i believe page fired
>>  on
>>  >the spot which they had to solve by pasting another
>>  >part at the begining of "celebration day"...
>>  >but is the honesty power and passion,no frills or
>>  >thrills they played back in those days that make
>>  them
>>  >so special to this day,almost as if it was the last
>>  >time they were going to live...
>>  >Luis
>>  >
>>  >
>>  >
>>  >
>>  >--- greg williams <gregorwilliams@comcast.net>
>>  wrote:
>>  >
>>  >>  Brian,
>>  >>
>>  >>  I am also a fan of Page and his production in
>>  >>  general in terms of dynamics,
>>  >>  but have you heard "How the West was Won"? It
>>  was
>>  >>  hugely disappointing for
>>  >>  me in this regard; it is squashed beyond belief,
>>  and
>>  >>  so is the sound on the
>>  >>  Zeppelin DVD, which was released around the same
>>  >>  time. I don't know if it
>>  >>  was Page himself who suddenly caved in or his
>>  >>  mastering engineer, but I
>>  >>  really wish I could hear those recordings with
>>  some
>>  >>  dynamics still intact.
>>  >>
>>  >>  ~Greg
>>  >>
>>  >>  -----Original Message-----
>>  >>  From: Brian Kupferschmid
>>  >>  [mailto:apparitionapparition@yahoo.com]
>>  >>  Sent: Monday, February 26, 2007 8:48 AM
>>  >>  To: Loopers-Delight@loopers-delight.com
>>  >>  Subject: Re: Why contemporary music sounds
>>  terrible
>>  >>
>>  >>  I wholly agree with this, I believe a lot of
>>  today's
>>  >>  music is crap, not just because the talent is
>>  >>  lacking,
>>  >>  but the dynamics as a whole is lacking.  Aside
>>  from
>>  >>  super compressed material, the bands themselves
>>  only
>>  >>  see to know two sounds, clean and dirty.
>>  Where's
>>  >>  the
>>  >>  middle ground?  I can listen to a blues song and
>>  >>  still
>>  >>  hear the dynamics, I can hear the accentuations
>>  on
>>  >>  the
>>  >>  notes being played to create emotion.  A lot of
>>  >>  today's pop and rock music lacks that.  Mind
>>  you,
>>  >>  Metal in all it's forms, isn't supposed to be
>>  >>  dynamic
>>  >>  in the musical sense, but why would you squeeze
>>  the
>>  >>  life out of any song to make it in your face?
>>  My
>>  >>  favorite stuff to listen to would be anything
>>  Jimmy
>>  >>  Page produced(Led Zeppelin for sure).  He
>>  composed
>>  >>  his
>>  >>  songs and used the studio to enhance his
>>  material
>>  >>  with
>>  >>  what he refers to "light and shade".  The
>>  >>  combination
>>  >>  of close and room micing, soft versus loud and
>>  >>  layering acoustics with clean electrics and so
>>  on.
>>  >>  If
>>  >>  you think about it, even some of the heaviest
>  > >>  sounding
>>  >>  stuff he did, wasn't all that distorted.
>>  >>  Ultimately,
>>  >>  his use of dynamics traslated over into the
>>  >>  mastering
>>  >>  part as well, what makes the big parts sound big
>>  is
>>  >>  the small parts, thus making the song truly
>>  >>  engulfing.
>>  >>   Another band to use dynamics to it's fullest is
>>  >>  Tool,
>>  >>  because of the ebb and flow, you can listen to
>>  an 8
>>  >>  minute tune and not get bored, because the
>>  shifts in
>>  >>  phrasing and dynamics keeps you there, and
>>  what's
>>  >>  more, everytime you listen to it, a new part
>>  pops up
>>  >>  you didn't realise was there before.  Anyway,
>>  I've
>>  >>  spoken what I think, so I have to agree, part of
>>  >  > what
>>  >>  is annoying about today's music is the lack of
>>  >>  dynamics, it wears you out.
>>  >>  --- Krispen Hartung <khartung@cableone.net>
>>  wrote:
>>  >>
>>  >>  > This is an interesting article posted on the
>>  jazz
>>  >>  > guitar discussion group.
>>  >>  > Jeff Kaiser and I had some interesting
>>  discussions
>>  >>  > about the abuses or
>>  >>  > misgivings of compression and the quest for
>>  hotter
>>  >>  > levels in newer CDs when
>>  >>  > I was mastering the discs for the Boise
>>  >>  Experimental
>>  >>  > Music Festival....all
>>  >>  > the different ways you can increase levels
>>  (for
>>  >>  CDs
>>  >>  > to sound comparable to
>>  >  > > other professional CDs in your player),  yet
>>  >>  > maintain natural dynamics, etc.
>>  >>  > Now, it has occured to me that often times
>>  when I
>>  >>  > hear a CD, especially
>>  >>  > pop/rock CDs, and I think to myself, wow that
>>  is a
>>  >>  > really hot and "in your
>>  >>  > face" level", the mix also doesn't have much
>>  of a
>>  >>  > dynamic range...some guy
>>  >>  > is screaming his lyrics, or you can tell that
>>  is
>>  >>  is
>>  >>  > practically blowing his
>>  >>  > brains out to get that tone out of his
>>  horn...but
>>  >>  it
>>  >>  > is no louder than the
>>  >>  > section where he is wispering poetry over an
>>  >>  ambient
>>  >>  > section.  It's like
>>  >>  > compress, compress, compress, limit, limit,
>>  >>  > limit....turn that wave form
>>  >>  > into a solid bar, and then raise it to
>>  0db...in
>>  >>  your
>>  >>  > face, 100% of the time.
>>  >>  > Below is the first time I've seen this
>>  referred to
>>  >>  > as exhausting, but it
>>  >>  > makes sense. Even if you turn your stereo
>>  down,
>>  >>  > there might be something to
>>  >>  > be said of giving the human pyche a break with
>>  >>  > natural dynamics and more
>>  >>  > space.
>>  >>  >
>>  >>
>>
>>Tension....release....tension...release....louder....softer,
>>  >>  > etc,
>>  >>  > etc.
>>  >>  >
>>  >>  > This article/topic, could I suppose turn into
>>  the
>>  >>  > discussion of the
>>  >>  > pschological results/benefits of adding more
>>  space
>>  >>  > to one's compositions
>>  >>  > (not making the composition "better" or
>>  "worse,"
>>  >>  > mind you).  Can adding more
>>
>=== message truncated ===
>
>
>
>
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