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RE: Why contemporary music sounds terrible
yes this is true the vinyl albums sound much better!
cheers
Luis
--- 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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