- This topic has 25 replies, 15 voices, and was last updated 13 years, 11 months ago by
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hmmmzz i think he’s trying to make a point…
we should not believe bullshit. True.
but i dont know what BS in reference to breakaway we should not believe..
anyone?
joop
well given hardcore’s line of reasoning, all radio stations should remove their audio processing chains and go straight to the transmitter.
He has a point, but, but the post is irrelevant.
This guy has clearly got his wires crossed! While he may know what he’s talking about when it comes to high end audio mastering for CD’s, I’m not quite sure he knows the concepts and principles of what you have to do to the audio before it goes to broadcast! We all know it’s 2 completely different things but does he?
Also he makes references to the $29 software, which is BAE, which is just a leveller and an EQ for personal taste, it’s not designed to be a high end peace of software, especially at that price! …and furthermore there’s no claims of any of Leifs software fixing or undoing clipping/limiting as Jesse has already mentioned.Basically, someone needs to give this guy a 1 watt exciter so he can play his own (CD) mastererd tracks through it with no processing apart from pre-emphasis and then see how it sounds against other radio stations, he will be very disappointed and then let him use BFM on even the lightest settings and see which he prefers.
For someone who claims to be a professional, you sound like a little bitch. Why would you come into a forum, completely unprovoked, and tell everybody here (in your own special way) that we are all a bunch of morons for using a piece of software? Get over yourself. And go away.
[quote author=”hardcore”]I almost forgot: the sound on most TV programs and especially commercials are horrendous! I would much rather have my TV audio sound like my records used to (yes, actual RECORDS) than the other way around.[/quote]
Ah, here’s the problem. You’re an analog engineer forced to live in a digital world.
BIG F’ING DEAL. Anybody who says they would much rather listen to records in the year 2010 should be executed by a firing squad on the spot. Grow up.
Hi,
I agree with ‘sgeirk’ on this.
It’s a totally valid point. Audio processing of this type is changing and arguably ‘damages’ the sound that the producer had intended.
So what? It’s done this way for many number of reasons…all of which anyone reading this will know.
I agree that the post is irrelevant, not inaccurate.
TDCat.
[quote author=”TDCat”]Audio processing of this type is changing and arguably ‘damages’ the sound that the producer had intended.[/quote]
‘Audio’ producers these days force us to listen to totally clipped an screwed up songs.
The song gets damaged at the point these fu…ng producers turn their audio controls way too far up at the mastering / editing stage.[quote author=”Dj Buik”][quote author=”TDCat”]Audio processing of this type is changing and arguably ‘damages’ the sound that the producer had intended.[/quote]
‘Audio’ producers these days force us to listen to totally clipped an screwed up songs.
The song gets damaged at the point these fu…ng producers turn their audio controls way too far up at the mastering / editing stage.[/quote]The problem there is that there’s no way to know *why* it got damaged, even if you have the original mix and of course the master… unless you hear it from the horse’s mouth. Where the buck stops. And almost always it’s the artist/s themselves. Ultimately it’s up to them to make sure they are working with someone who understands how not to screw up a recording (assuming the mix isn’t already obliterated), and make sure they are listening to what they are saying, and to trust them when they say something like "i could turn this up 1-2dB more, but it’ll ruin it, and sound like a distorted mess".
If an engineer is afraid to at least say something like that, then the artist/s picked the wrong guy. imo.
I have attended and thoroughly enjoyed two live Michael Buble concerts, and I have a DVD of one of his "Live at…" series, and they are all (almost) pitch perfect and very well mixed. By comparison, I was given a studio-produced CD and it is full of un-necessary pitch correction, making Buble sound like the Chipmunks.
How can this happen? I can understand an ignorant, or over-zealous engineer over-tweaking, but doesn’t Michael or his management have any input? How could he let anyone mess with his natural voice?
I think it has also todo with the music industries these days.
They do not make the shit piles of money they did years ago.So they can not afford ‘good’ engineers anymore.
So some ‘school boy’ are turning the knobs these days.
This is cheap, but they are missing the experience.One of the preeminent mastering engineers once told me that music mogul Clive Davis has a stereo in his palatial office, his stereo would be turned up to a predetermined spot, and if the master didn’t pass muster at that point it was turned back in for a re-do.
A man in his eighties (and hearing, thereof) determining how loud a CD should be mastered.
This, is just a small taste of what’s wrong with the music biz, kids!
If you’re programming a radio station, 99% of the time, you’re better off playing anything but something that’s been "remastered."
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