Little stoned kiwi wrote:Does that apply to compression, lifting everything in the ads to the maximum allowed level?
As Little stoned kiwi correctly guesses, the sneaky buggers get around the regulations by compressing and normalising the audio in ads, so that the peak may not be louder than the programme, but EVERYTHING is at peak with no dynamic range, making the overall ad louder without breaking the rules.
As with many people here, I don't consume any content with ads at home, but I notice this every time I go someone else's place.
And I hear ads all day long working where I work. Indeed, if the ads go dead, we start losing money.
tufty wrote:Fuck adverts, the solution to those is ad blockers, not watching commercial channels, not listening to commercial radio which only plays crap anyway, and failing all that, lining up the advertising executives aginst a wall and shooting the cunts.
Also, fuck normalising music. If you normalise music to a simple range, you lose pretty much all the power of tracks like (hard left back to Floyd) "Mother", which has a dynamic range way larger than pretty much anything you'll find today outside of jazz and classical music.
Little stoned kiwi wrote:Does that apply to compression, lifting everything in the ads to the maximum allowed level?
As Little stoned kiwi correctly guesses, the sneaky buggers get around the regulations by compressing and normalising the audio in ads, so that the peak may not be louder than the programme, but EVERYTHING is at peak with no dynamic range, making the overall ad louder without breaking the rules.
As with many people here, I don't consume any content with ads at home, but I notice this every time I go someone else's place.
And I hear ads all day long working where I work. Indeed, if the ads go dead, we start losing money.
Another thought, could they be messing with the programmes audio? Or audio tracks produced to suit broadcast? Such as a low volume/low dynamic range with a few peaks to exaggerate the difference more.
Pop songs are mixed for radio.
If they think you're crude, go technical; if they think you're technical, go crude. I'm a very technical boy.
Midi presets my arse, that sounds like shit. The vocals are pulled right to the front of the mix, everything else is drowned out, it's been smudged to death. Like I said before.
Alan Parsons should go round to Waters' place and kick him in the bollocks.
"massive retard™", "full of shit™", "tiny bitch™", "retarted™", "a bit of a one trick pony™", "petty™", "simple minded idealistic twat™", "miserable humourless fucker™"
Alan Parsons had far less to do with the production of DSotM than he likes to make out. He was a studio engineer, pretty much doing what the band told him to. That's why it's "Produced by Pink Floyd".
tufty wrote:Midi presets my arse, that sounds like shit.
I was trying to be more diplomatic.
My point was that the drums are quite prominent, yet sound extremely amateurish - like he just hit the preset drum loop button on a cheap Casio keyboard or something - that I can't even really focus on the rest of it, because I'm being periodically assaulted by the crap robotic snare. Which feels way too loud. It's so egregious, that I'm genuinely having trouble even hearing the rest of it.
So you're probably entirely right, but I can't even get past the "amateur hour" drums to hear the rest of the mix properly.
"Words ought to be a little wild - for they are assaults of thought on the unthinking."
- John Maynard Keynes
I was prepared to give this the benefit of the doubt - this is coming from someone who really enjoyed the 'Is This The Life We Really Want?' album and tour, but that is just... honestly, it's just sad more than anything else.
Lots of focus here on that awful Casio snare tone, but for me that was largely swept aside by the vocals. All the sweep and range and grandeur of the original has seemingly been replaced by someone's grandad painfully huffing the lyrics through a letterbox slot from somewhere outside.
There's no other word for it but "sad". I suspect this is going to backfire to some degree - it's like Rog is shitting on his own legacy and doesn't realise it.
It's sad how awful that reworking of DSotM is. I'm listening to Is This The Life We Really Wanted? right now and it's really one of, if not the best things he's ever recorded in his solo career.
The "Lockdown Sessions" material he did was equally poor and of relatively low production values, I suspect this is expanding on that work. The "DIY aesthetic" doesn't suit the material though.
And he really should stop trying to sing Gilmour's vocal parts
