MOTM

I totally agree with you on the compression issue.  It's so easy 
to do more 
damage than good. 
    I can't tell you how many times I have rolled into a gig and 
seen the sound company run the PA's mains through one of 
those Beheringer Composers with the Rack cover attatchment 
so no one can set the knobs...  It blows the mind.  I like to ask the 
front of house person if he thinks the pa sounds good with that 
brick wall limiting.

Howard


--- In motm@yahoogroups.com, "Markk W. Roberts" 
<motmmarkk@c...> wrote:
> case in point, we just finished listening to a "Mastered Copy" of 
our
> freshly completed CD. I flat out said it sucked, and not to 
accept it. Too
> much compressionand way too much gain... it lost all of it's 
feeling, no
> dynamics when a part goes to a soft melody....arrrrgggggh, I 
told Eric to
> just remix it again on ProTools at home, his mix still sounded 
better than
> these guys who we just used. So disappointed right now...
> 
> Markk
> 
> 
> You've nailed it right on the head-- long durations of highly 
clipped and
> compressed music is very taxing.  The worst part is that you 
can't just turn
> it down to eliminate the effect; it's still terribly taxing.  My
> understanding is that this isn't typically the fault or the band, but 
more
> often the record label ordering the mastering engineers to 
make it LOUDER
> becasuse LOUDER IS BETTER!!!!  <ahem>  This is a fairly 
recent trend, which
> is why your records don't hurt, and live shows don't have evil 
mastering
> engineers.
> 
> (And no, not all mastering engineers are evil.)
> 
> I've read that Rush's latest CD (whatsitcalled-- afterburn 
something or
> other?) falls prey to this unfortunate trend.  From my own 
collection, I've
> noticed that Madonna's "Music" is somewhat taxing.  I can't 
recall others
> off the top of my head.
> 
> When it comes to this nasty habit, I'd rather listen to grinding,
> head-splitting, noise puke, ala Merzbow or Aube... at least then 
I know what
> I'm getting into.  ;)
> 
> --PBr