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Sir Mustapha Group: Musicians Posts: 2802 Joined: April 2003 Posted: Sep. 25 2008, 22:13 Whiners!! By the way, talk about Slipping Through My Fingers - I never really paid too much attention to ABBA lyrics, but that song... Wow, it hit hard. A slap on the face. How would ever the average guy who thinks ABBA = Dancing Queen guess that they wrote a song that depicted in such a blunt, fierce way the feeling of missing out your own daughter's life? It's almost cruel; it's a set of lyrics one should read every single night to make sure he's doing his best to avoid going through that. -------------- Check out http://ferniecanto.com.br for all my music, including my latest albums: Don't Stay in the City, Making Amends and Builders of Worlds. Also check my Bandcamp page: http://ferniecanto.bandcamp.com Back to top

Dirk Star Group: Members Posts: 1331 Joined: Sep. 2007 Posted: Sep. 27 2008, 19:35 Just stumbled upon this elsewhere online.But kind of bringing us back full circle in a way to the album that first inspired this thread Metallica`s Death Magnetic .The guy who actualy mastered that album(Ted Jensen of Sterling Sound) has reportedly made the following statement whilst posting on another internet forum himself.Some food for thought here anyway... "I'm certainly sympathetic to your reaction, I get to slam my head against that brick wall every day," he wrote. "In this case the mixes were already brick-walled before they arrived at my place. "Suffice to say I would never be pushed to overdrive things as far as they are here. Believe me, I'm not proud to be associated with this one, and we can only hope that some good will come from this in some form of backlash against volume above all else." Back to top

the Somme Group: Members Posts: 13 Joined: Nov. 2008 Posted: Nov. 09 2008, 22:24 Transfers of popular and familiar stuff from analogue tape to CD: Bad: "Dare"-Human League. Entire Rolling Stones Decca catalogue, 1964-1970, 1st Abkco issues, 1986. 1st Polydor Velvet Underground CDs (partic. "& Nico". Woeful.) Good: Entire Queen catalogue (EMI's 'Digital Masters' series, 1994). Entire Beatles catalogue, 1st (only? as yet) issue, 86-87. (I've read all the 'Beatleology' about remastering them. They won't be bettered. Take them or leave them.) "Raw Power"-Iggy Pop And The Stooges. Remastered by Iggy himself. Erring on the side of sheer sonic savagery, Iggy wisely opted to just turn everything up into the red. "The proof's in the pudding", he says in the sleevenotes. Shake yer bleedin' teeth out, exactly as it should do. Which brings us to Oasis. Like it or not, Oasis are the last truly great rock and roll turn Great Britain will produce. Obviously, all of their catalogue has been recorded in the 'digital age'. The producer of their first two LPs, Owen Morris, freely admits his 'technique' was simply to turn everything up to 11. Initially this was to ensure that Oasis records came on pub jukeboxes much louder than anybody elses. A marketing ploy which was hardly necessary, given the quality of Noel Gallagher's songs. By the 2nd Oasis album, though, this approach became a big part of Oasis' sound. Listen to "Morning Glory", and the seemingly infinite layers of guitar overdubs compressed and seething with feedback. Couldn't be done 'quiet'. The jazz age well and truly over. I'm with Public Enemy on this one: Turn it up. Bring the noise. -------------- on this station you will hear gospel and rhythm and blues and jazz. all those are just labels. we know that music is music Back to top

Dirk Star Group: Members Posts: 1331 Joined: Sep. 2007 Posted: Nov. 10 2008, 07:49 I recently saw an interview with Noel Gallagher,where he kind of played down Owen Morris`s input into those early Oasis albums.I think Noel in fairness more or less knew the sound he was going for from the offset,so like you say Somme little "technique" required there to an extent.If you listen to the way those multi-layered guitars mesh at the end of Columbia from their first album for instance, it really does sweep you away there`s no denying that for me.I`m not against people cranking everything up in the recording studio depending on what type of music it is.I think the main problem seems to be when it gets to the mastering stage and they seem to want to take it that step too far I think.Everybody`s hi-fi has a volume control to turn it up themselves after all.I guess it`s all market forces though at the end of the day competition for the compressed ipod shuffle generation.Less is more. Power and volume in music is a wonderful thing I quite agree.But if it`s at the expense of dynamics and "groove" if you like then imo I think we`re heading down the wrong road totally.If you listen to Vic Maile`s production on some of Motorhead`s seminal work for example.Sure everything is cranked up into "piercing",but the overall sound is clean and sharp.It`s Rock with the roll still intact,something Keith Richards is always lamenting/harping on about.But if I was to listen to Ace Of Spades now on a cd,next to say Britney Spears Wominiser single.I know which one would sound bloody louder unfortunatly..And nothing against Britney but how many frickin` times does she actualy sing the word Womaniser during the course of that song??...Yes the correct answer is of course none!       Imo though that`s where the problem stems from to an extent.All yer old rockers and even yer modern day feedback junkies,don`t want to be "outblasted" by the likes of Britney.It`s almost like a slight on their ego/proffresion if you like.It stands to reason therefore that a lot of those dudes find themselves asking the question.."How the hell do we make this thing sound louder than everything else...especialy Britney"?...And then it`s all kind of downhill from there on I guess. Back to top

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