Song of the Moment: Mind Your Manners

[epilogue]

The more drum talk the better.

I read this like five times trying to squeeze the word "drunk" into it. Not sure what that says about me.

yor durnk

Yu tak thaaaa bcak!

[Walker Bait]

Both clips(if they're different songs?) sound good. Hate the drum sound though.

Same, but I think I've felt like that on the whole since Riot Act.

What bugs you about the drums on Riot Act?

No, sorry, I mean Riot Act was the last album I was 100% happy with drum-sound wise. The problem here is basically the same problem as S/T; there's no resonance on the snare drum (or the bass drum); they're flat, like cardboard. I also don't like Matt's obsession with the ride cymbal, I think it takes away from the heaviness of the song. I'm a traditionalist in that I like it when heavy rock thrashes around on the hi-hat. Matt seems to be loathe to do that, strangely. Incidentally, this was an issue I had with the recorded version of You Are for a while -- that Matt didn't open the hi-hat during the choruses -- but I decided it was OK due to its uniqueness, and that maybe it wasn't trying to be the giant rock song I thought. Maybe that's true of this one as well?

That makes total sense to me.

You explain yourself really well, thanks for that. But additionally, do you think the overall mixing/production quality of S/T and Backspacer contributes to what you're hearing/disliking? Or is it just the more technical stuff?

If I may interject for a moment...I found S/T and Backspacer to be a little too "clean". I also thought it just sounded flat, especially the drums. I thought it was just me. That clip they played seems to have a much fuller sound, I'm hoping this is true of the whole album.

[its_not_1974]

Who was it that mentioned GY!BE? I can hear that in the atmospheric first track, and it's got me wondering whether, when Mike (?) called the new music "experimental", he might've been referring to a post-rock style. If there was an obvious contemporary style for PJ to try next, post-rock might be it.

Ever since that Nagoya Improv, I have been aching for this exploration.

[epilogue]

Both clips(if they're different songs?) sound good. Hate the drum sound though.

Same, but I think I've felt like that on the whole since Riot Act.

What bugs you about the drums on Riot Act?

No, sorry, I mean Riot Act was the last album I was 100% happy with drum-sound wise. The problem here is basically the same problem as S/T; there's no resonance on the snare drum (or the bass drum); they're flat, like cardboard. I also don't like Matt's obsession with the ride cymbal, I think it takes away from the heaviness of the song. I'm a traditionalist in that I like it when heavy rock thrashes around on the hi-hat. Matt seems to be loathe to do that, strangely. Incidentally, this was an issue I had with the recorded version of You Are for a while -- that Matt didn't open the hi-hat during the choruses -- but I decided it was OK due to its uniqueness, and that maybe it wasn't trying to be the giant rock song I thought. Maybe that's true of this one as well?

That makes total sense to me.

You explain yourself really well, thanks for that. But additionally, do you think the overall mixing/production quality of S/T and Backspacer contributes to what you're hearing/disliking? Or is it just the more technical stuff?

If I may interject for a moment...I found S/T and Backspacer to be a little too "clean". I also thought it just sounded flat, especially the drums. I thought it was just me. That clip they played seems to have a much fuller sound, I'm hoping this is true of the whole album.

Clean and thin, I agree. S/T more so.

[Jorge]

Sounds like Foo Fighters.

[Sgt. Crackpot]

Both clips(if they're different songs?) sound good. Hate the drum sound though.

Same, but I think I've felt like that on the whole since Riot Act.

What bugs you about the drums on Riot Act?

No, sorry, I mean Riot Act was the last album I was 100% happy with drum-sound wise. The problem here is basically the same problem as S/T; there's no resonance on the snare drum (or the bass drum); they're flat, like cardboard. I also don't like Matt's obsession with the ride cymbal, I think it takes away from the heaviness of the song. I'm a traditionalist in that I like it when heavy rock thrashes around on the hi-hat. Matt seems to be loathe to do that, strangely. Incidentally, this was an issue I had with the recorded version of You Are for a while -- that Matt didn't open the hi-hat during the choruses -- but I decided it was OK due to its uniqueness, and that maybe it wasn't trying to be the giant rock song I thought. Maybe that's true of this one as well?

That makes total sense to me.

You explain yourself really well, thanks for that. But additionally, do you think the overall mixing/production quality of S/T and Backspacer contributes to what you're hearing/disliking? Or is it just the more technical stuff?

If I may interject for a moment...I found S/T and Backspacer to be a little too "clean". I also thought it just sounded flat, especially the drums. I thought it was just me. That clip they played seems to have a much fuller sound, I'm hoping this is true of the whole album.

The problem with these albums, more-so S/T than Backspacer, was the production and mastering. The end result was that they used compression mastering to emphasize the 'loudness' of the music, i.e. everything is loud. This means a lot of 'clipping' occurs, cutting out some of the top and bottom end of the sound. Sadly they do this to a lot of music these days, and little part of me died inside when I realised PJ were doing it too.

To my ears I love dynamic mastering, where the music breathes, and there loudness and softness are both allowed. PJ's earlier albums used this method more, such as Riot Act and Ten specifically. The sound is fuller, roomier and has an inherent smooth quality to it.

To get technical here, if you look at the waveforms of the songs they would look like this:

Compressed:


Dynamic:

[evenslow]

The problem with these albums, more-so S/T than Backspacer, was the production and mastering. The end result was that they used compression mastering to emphasize the 'loudness' of the music, i.e. everything is loud. This means a lot of 'clipping' occurs, cutting out some of the top and bottom end of the sound. Sadly they do this to a lot of music these days, and little part of me died inside when I realised PJ were doing it too.

To my ears I love dynamic mastering, where the music breathes, and there loudness and softness are both allowed. PJ's earlier albums used this method more, such as Riot Act and Ten specifically. The sound is fuller, roomier and has an inherent smooth quality to it.

To get technical here, if you look at the waveforms of the songs they would look like this:

Compressed:


Dynamic:

I've always wondered why the "viva la vinyl" guys went in for the compression thing. Has anyone heard the band talk about this? It would seem to me like something they'd be passionate about.

[elliseamos]

can somebody isolate (or tell me how to isolate) the two separate parts of the tour announcement video?

i'd like to play that ambient part on repeat as i lick batteries this evening.

thnx!

[@SkitchP]

I adore the fact that harmless has a RisingTides quote in his signature

[epilogue]

I adore the fact that harmless has a RisingTides quote in his signature

You can take this post and shove it right up your things I have an irrational love for thread.

[Sgt. Crackpot]

can somebody isolate (or tell me how to isolate) the two separate parts of the tour announcement video?

i'd like to play that ambient part on repeat as i lick batteries this evening.

thnx!

Damn you're sexy.

[epilogue]

can somebody isolate (or tell me how to isolate) the two separate parts of the tour announcement video?

i'd like to play that ambient part on repeat as i lick batteries this evening.

thnx!

I'm sure sarge has an instructional gif he can lend you.

[Waverider]

That second song clip sounds like it could be the brother/cousin of "ONCE".

[evenslow]

That second song clip sounds like it could be the brother/cousin of "ONCE".

I was gonna say it could be the sister/nephew of "BROTHER."

[Norah]

The problem with these albums, more-so S/T than Backspacer, was the production and mastering. The end result was that they used compression mastering to emphasize the 'loudness' of the music, i.e. everything is loud. This means a lot of 'clipping' occurs, cutting out some of the top and bottom end of the sound. Sadly they do this to a lot of music these days, and little part of me died inside when I realised PJ were doing it too.

To my ears I love dynamic mastering, where the music breathes, and there loudness and softness are both allowed. PJ's earlier albums used this method more, such as Riot Act and Ten specifically. The sound is fuller, roomier and has an inherent smooth quality to it.

To get technical here, if you look at the waveforms of the songs they would look like this:

Compressed:


Dynamic:

I've always wondered why the "viva la vinyl" guys went in for the compression thing. Has anyone heard the band talk about this? It would seem to me like something they'd be passionate about.

True story: Eddie Vedder doesn't know what compression is.

[Norah]

Adobe Audition screenshots turn me on.

[Norah]

But to be fair, all of PJs records are fairly compressed. Some are worse than others, but they've been on the wrong side of the loudness wars since the beginning. When they said viva la vinyl they were just being hipster douchebags who didn't know what the fuck they were talking about.

[Rangi Guy]

Adobe Audition screenshots turn me on.

I've become numb to this place nothing turns me on around here like it used to.....

[Sgt. Crackpot]

Adobe Audition screenshots turn me on.

I've become numb to this place nothing turns me on around here like it used to.....

[Strat]

When a man tells me to wear my boner pants....I wear my boner pants