Brick wall wave forms...it used to be radio that compressed the crap out of music. Now with the masters w/ brick wall waveforms, there's a whole generation of music that will be lost and forgotten. It's like The Fireflies "You Were Mine" way over driven which wrecked a oerfectly good song.
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Vinyl masters?
- Thread starter dannyscott101
- Start date
I haven't started working on it yet! But it will be the same thing that you get when you use the current Stereo Tool release instead of Perfect Declipper - so you could try that for now. (If you want to clip the output in Stereo Tool you need a license that includes the clipper, if you don't have that mail me and I'll upgrade your license so you can run it).chriscollins said:HVZ, can I beta the vst plugin for the new Declipper? I use it in Adobe Audition.
On-air results of declipped songs are somewhat good so far. I also used the generic low-pass filter in CS6.
I thought Rihanna's "Only Girl in the World" still sounded like it was coming out of a blown speaker, but the PD thought it sounded much better in his car.
This song has many visible 'flat top' waves during the nasty-sounding chorus section, so crap in still equals crap out to some extent... You can't take a turd and sculpt it into anything else, but I guess you can change the shape of the turd a little bit!
I guess the volume of a CD or download track is the ONLY thing that matters any more, and we all must suffer!
The other song noted was Icona Pop's "I Love It", which has a great deal of intentional 'hashy' sound to it in the vocals. Declipper and filtering seemed to take down the distortion to lesser level, while preserving the intentionally gritty vocal sound.
Others I look forward to processing: Alex Clare's "Too Close", Jason DeRulo's "The Other Side", almost anything by Pink, and anything by One Direction.
It won't make me like the songs any better, but I don't pick 'em!... I just play 'em! (voice-tracked, of course)
Generally, I find that the 'punchy' songs seem to sound okay in spite of brick-wall mastering. (Robin Thicke - "Blurred Lines" * Daft Punk - "Get Lucky") It's the songs with sustained loud chorus sections or strong sustained bass that are most distorted.
It's really time for big-market PDs to simply REFUSE to air music that has too much distortion, but sadly, that will never happen...
I thought Rihanna's "Only Girl in the World" still sounded like it was coming out of a blown speaker, but the PD thought it sounded much better in his car.
This song has many visible 'flat top' waves during the nasty-sounding chorus section, so crap in still equals crap out to some extent... You can't take a turd and sculpt it into anything else, but I guess you can change the shape of the turd a little bit!
I guess the volume of a CD or download track is the ONLY thing that matters any more, and we all must suffer!
The other song noted was Icona Pop's "I Love It", which has a great deal of intentional 'hashy' sound to it in the vocals. Declipper and filtering seemed to take down the distortion to lesser level, while preserving the intentionally gritty vocal sound.
Others I look forward to processing: Alex Clare's "Too Close", Jason DeRulo's "The Other Side", almost anything by Pink, and anything by One Direction.
It won't make me like the songs any better, but I don't pick 'em!... I just play 'em! (voice-tracked, of course)
Generally, I find that the 'punchy' songs seem to sound okay in spite of brick-wall mastering. (Robin Thicke - "Blurred Lines" * Daft Punk - "Get Lucky") It's the songs with sustained loud chorus sections or strong sustained bass that are most distorted.
It's really time for big-market PDs to simply REFUSE to air music that has too much distortion, but sadly, that will never happen...
There definitely was some pushback, both from consumers and music pros, after their "Death Magnetic" album ended up being overly compressed and distorted compared to the tracks that were released in the Guitar Hero version of the album, which were much more dynamic. Metallica's PR manager called it a "technical error" and blamed it on the album's production engineer.dannyscott101 said:It's really time for big-market PDs to simply REFUSE to air music that has too much distortion, but sadly, that will never happen...
satech said:There definitely was some pushback, both from consumers and music pros, after their "Death Magnetic" album ended up being overly compressed and distorted compared to the tracks that were released in the Guitar Hero version of the album, which were much more dynamic. Metallica's PR manager called it a "technical error" and blamed it on the album's production engineer.dannyscott101 said:It's really time for big-market PDs to simply REFUSE to air music that has too much distortion, but sadly, that will never happen...
I remember the press about that Metallica Album, and the arrogant response from Lars Ulrich, "There's nothin' up with the quality... It's 2008; that's the way we make records!"
It proves though, that 'undestroyed' versions of these songs sometimes do exist out there.
Kent T said:I think the original poster in this thread is talking about transferring vinyl to the hard drive or CD-R from less brickwalled sources. I do this a lot with oldies based libraries. Sometimes I have better dubs than what is on CD or the authentic singles versions.
To clarify once again... I'm talking about being able to have access to the digital source material (flat-not RIAA curved) that was used to master the vinyl version, which in many cases is far less processed that the CD version of current releases.
I read about a recent Tom Petty release that is being sold on vinyl. When purchasing the LP version, the buyer also gets a CD version of the recording used to make the vinyl record, which is produced differently than the standard CD release.
A professional mastering engineer will always create several test masters at different loudness levels, from soft and barely processed to loud and heavily smashed. Then it's up to the artist and/or producer to decide which master version gets put on the CD or LP.
The problem is that with the advent of computer-based audio processing tools, a lot of albums are coming "pre-mastered" right from the recording studio, at which point the mastering engineer can't do much except release it as-is, as the damage has already been done.
The problem is that with the advent of computer-based audio processing tools, a lot of albums are coming "pre-mastered" right from the recording studio, at which point the mastering engineer can't do much except release it as-is, as the damage has already been done.
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