darkling1219
Sanitation Engineer
"Sour as a lemon. Please, wait at the window."
Posts: 182
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Post by darkling1219 on May 16, 2012 13:14:34 GMT -5
Do you guys know where "Who's gonna ride your wild horses" were recorded and mastered?? Cause I have a medium quality versiĆ³n of it and still sounds amazing. You can hear every single beat and guitar and the effects. Great question. The song does sound really awesome.
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rewak
Trash Man
Posts: 98
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Post by rewak on May 16, 2012 13:17:50 GMT -5
If you expect an album released in this day and age to be anything but brickwalled frankly you're a moron, even if you had been living under a rock you still would have heard the thump-thump of music reverbing all over the place. It's just a fact of the industry today, even if you're lucky enough to find somewhere like HDTracks offering a 24/96 version of the album it's still going to be bricked because that's what mastering means today.
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Post by southside on May 16, 2012 14:33:46 GMT -5
yeah, but not every album sounds that way after it's mastered. off the top of my head (and because i was just listening to it) alanis morissettes last recored, flavors of entanglement, has so many layers through out, the mastering does it real justice.
i thought for blood for poppies it was just a lower quality mp3 they gave out for free, but then when i bought it, i noticed the same compression in the song, really muted the layers that i think are there, but can't really hear. hopefully when the cd arrives next week i can tell the difference, if not, oh well, still a great album!
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Post by codyt3212 on May 19, 2012 15:49:37 GMT -5
It is quite piercing on the ears depending on how you're listening to it. On cheap iPod headphones the sound is a little too "treble-y" at times...but when I listen to it on my home stereo system is sounds pretty large and in charge.
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Post by dnp52 on May 19, 2012 20:55:42 GMT -5
It's probably Chris, where is he anyway? I expected numerous threads started by him on each one of his opinions regardless if there was already a thread like that.
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Post by badboyfriend on May 20, 2012 10:55:59 GMT -5
I've heard worse.
I can't believe that troll called Emily Lazar a 'vile cunt' though. WTF? She did a decent job, plus considering she only had backup tapes for the Garbage era tracks for remastering, she did a good job of that too.
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Post by kattramell on May 20, 2012 11:34:39 GMT -5
Emily rules. I plan to use the Lodge in the future with my own work. YES.
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Post by aztalanturf on May 20, 2012 17:21:52 GMT -5
It's one thing to critique the mastering. It's crossing a line to direct vile language at a person just because you disagree with the end product. That's totally unacceptable.
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Post by badboyfriend on May 24, 2012 22:23:47 GMT -5
He's going at in wikipedia now.
You can hardly use YouTube comments as sources, yet he's doing it anyway -__-
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Post by GoGoGrrrl on May 24, 2012 22:37:13 GMT -5
Emily Lazar's ex-boyfriend? Haha!
In all seriousness, I can see the points made... I too noticed a sort of "lack of delicacy" as he puts on, & on BLM also. I'm no audiophile & didn't have the words for it even if I could put my finger on it, but it's as if some of the nuances are lost, which is a big deal with a G record, as the delicious devil is in their nitty gritty details. If you listen to V2.0 & BG, there are all these crisp, clear details that stand apart, and it does seem like everything gets flattened a bit on BLM & NYKOP. It's far from ruining the albums for me, so minor that I never even bothered to suss out exactly what it was beyond a vague impression of being "not quite as good" as the first 3 albums.
Did this chick remaster AG also? I didn't like the remastering of it, especially the echoey effect the vocals on OHWIR has. I think the band likes her work because the loudness & more chaotic blurring of the elements is supposed to give a "live" feel, whereas V2.0 was (stupidly) criticized for its "soulless perfection".
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Post by aztalanturf on May 24, 2012 23:05:07 GMT -5
I opened most of the iTunes version files in Audacity an zoomed in. I can see there's a lot of compression where you'd expect it...ASH, the loud part of Control, but even Battle in Me isn't compressed to hell. I would say that a lot of the compression is used for effect and isn't used just because or just to make things louder. For example toward the end of Control, the compression/clipping adds to the muddy sound and the "singing into a fan" chaos, but you can clearly see and hear the dynamic range in the beginning. Now I'm not an audio engineer, but I think this is a good job of knowing when to turn the dial to 11 and when to hold back, while still accepting the reality of the state of modern music mastering. However, since I do know how to work the volume knob on my stereo and despite the fact that I've already bought multiple versions of the record, I wouldn't say no to a "high dynamic range" version. See You Shriek for an example of what I'd like to see.
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Post by badboyfriend on May 24, 2012 23:13:01 GMT -5
I opened most of the iTunes version files in Audacity an zoomed in. I can see there's a lot of compression where you'd expect it...ASH, the loud part of Control, but even Battle in Me isn't compressed to hell. I would say that a lot of the compression is used for effect and isn't used just because or just to make things louder. For example toward the end of Control, the compression/clipping adds to the muddy sound and the "singing into a fan" chaos, but you can clearly see and hear the dynamic range in the beginning. Now I'm not an audio engineer, but I think this is a good job of knowing when to turn the dial to 11 and when to hold back, while still accepting the reality of the state of modern music mastering. However, since I do know how to work the volume knob on my stereo and despite the fact that I've already bought multiple versions of the record, I wouldn't say no to a "high dynamic range" version. See You Shriek for an example of what I'd like to see. Pretty much my thoughts. Control has that chaotic noisy mess at the end, but it's meant to sound like that and in the context of the song it sounds so good. And yeah, you can hear the dynamics in it. It's not anything like the Nevermind 2012 re-release, which was mastered loud as hell for god knows why. The loudness in this album works.
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Post by strikiller20 on May 24, 2012 23:34:03 GMT -5
I loved the album, i heard the FLAC files, but in my headphones I do not like what I heard,some tracks has a lot of compression (Control, I Hate Love and Sugar) Anyway, the album arrived in my country this week, I'm thinking if I'll go at the store tomorrow and buy it, the other albuns i have two or more copies from different countries and i bought almost all the singles the released around the world in ebay, but this time i don't know if it's worth...sorry is my opinion, Don't take me a karma for this, LOL
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Post by badboyfriend on May 25, 2012 0:42:14 GMT -5
I loved the album, i heard the FLAC files, but in my headphones I do not like what I heard,some tracks has a lot of compression (Control, I Hate Love and Sugar) Anyway, the album arrived in my country this week, I'm thinking if I'll go at the store tomorrow and buy it, the other albuns i have two or more copies from different countries and i bought almost all the singles the released around the world in ebay, but this time i don't know if it's worth...sorry is my opinion, Don't take me a karma for this, LOL See, the way you've explained it, I respect your opinion. You don't go around forcing it down everyones throats or editing wiki pages and posting reviews that bash the mastering on every concievable website. You just say you don't like it and don't try and say 'oh this mastering sucks and you should all hate it too' or 'emily lazar is a vile cunt'.
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Post by kattramell on May 25, 2012 0:46:37 GMT -5
People just can't enjoy music anymore? Why do people have to break everything down.. thats not what it's given to us for. It's a fucking gift, and people just shit all over it. I'd like to see this person do something amazing so i can shit on it.
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Post by strikiller20 on May 25, 2012 1:13:25 GMT -5
I don't know much about Emily Lazar so I can't judge, and I liked the mastering of Absolute garbage and Bleed Like Me, both were her work, but i'm thinking about the months they spend in studio recording this gift to us, anyway, thinking this way i'll buy the album tomorrow...
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Incognito
Trash Man
The strangest of the strange.
Posts: 77
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Post by Incognito on May 25, 2012 12:08:24 GMT -5
Sorry, but the mastering is truly disgusting. Even if some songs were made to sound distorted, you don't need MORE distortion added to them. I don't think we should accept this kind of mastering just because "it is the current standard" in the music industry. We should voice our opinions as loudly as possible without being disrespectful.
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Post by kattramell on May 25, 2012 14:13:37 GMT -5
Sorry, but the mastering is truly disgusting. Even if some songs were made to sound distorted, you don't need MORE distortion added to them. I don't think we should accept this kind of mastering just because "it is the current standard" in the music industry. We should voice our opinions as loudly as possible without being disrespectful. How is that not disrespectful? Why do WE as fans have a say in any of it? This is their record, something that belongs to them. Fans sometimes take it a bit too personal. Just enjoy it. Stop being difficult.
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Post by Xalazi on May 25, 2012 16:32:27 GMT -5
The punk rock fan in me reads this thread and shake his head. You can't measure the quality of the music by the audio fidelity. Go listen to Rocket to Russia, London Calling, or Never Mind the Bollocks and then tell me "The quality of the mastering" really matters. Those albums changed the music world and sound like they were recorded on the speaker phone of a cellphone.
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Post by garbagefiend on May 25, 2012 16:49:28 GMT -5
^ true. For the first three record releases I probably listened to on tape, $5 headphones etc and up until a year or two ago a lot of my music was 128k bit rate. It's really not a huge deal. Get over it and stop being whiny audiophile bitches.
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