Red Mosquito

Thanks for that link, McParadigm

Question: Since they have different DR scores, does this mean that Yield, Vitalogy, VS, and Ten (Redux) on vinyl are mastered independently from the CD mastering? There have been some vocal people out there claiming that all Pearl Jam vinyl releases are from the same master that was intended for CD.

It's a good question. Dynamic range inherent to the recording is one thing....dynamic presentation inherent to the medium is another. I honestly don't know enough about the sonic differences to speak on it.

Also, what track do we think scored the 15 on the Vitalogy LP? It has to be Nothingman, right?

cutuphalfdead wrote:Also, what track do we think scored the 15 on the Vitalogy LP? It has to be Nothingman, right?

Bugs? Or maybe the whip crack threw Satan's Bed off.

there are some great albums in the 0-3 ratings

Kevin Davis wrote:Thanks for the article, Heathen.

Wendy Carlos's Twin wrote:

Kevin Davis wrote:What are some examples of records that are produced this way other than Pearl Jam's self-titled album (and "The Woods," apparently)?

Seriously? What do you use to listen to music? Don't you have to adjust levels when you listen to different things? Surely you can tell the difference between something that is "normal" and something that is extremely loud and abrasive at any volume.

Sure, I can tell the difference between two things that have different "base volumes," for lack of a better term, but I have a harder time thinking of things that are loud and abrasive "at any volume." There are some exceptions of course (I can definitely understand the criticisms of "Californication," I remember noticing that even in high school), but usually I can just fiddle with the volume settings until the levels are right for my ears and carry on. I suspect that's probably the case for most non-audiophile listeners.

I'm not trying to argue that this is all in people's heads or anything, I'm just trying to get a handle on what people are talking about when they go on about it. I'll consider myself lucky that my ears don't instinctively zero in on it.

Wendy Carlos is probably the most unnecessarily aggressive poster on RM.

Fuzzcharger wrote:Wendy Carlos is probably the most unnecessarily aggressive poster on RM.

cutuphalfdead wrote:Thanks for that link, McParadigm

Question: Since they have different DR scores, does this mean that Yield, Vitalogy, VS, and Ten (Redux) on vinyl are mastered independently from the CD mastering? There have been some vocal people out there claiming that all Pearl Jam vinyl releases are from the same master that was intended for CD.

It's all been downhill for Pearl Jam since the "Dissident" maxi single.

cutuphalfdead wrote:Thanks for that link, McParadigm

Question: Since they have different DR scores, does this mean that Yield, Vitalogy, VS, and Ten (Redux) on vinyl are mastered independently from the CD mastering? There have been some vocal people out there claiming that all Pearl Jam vinyl releases are from the same master that was intended for CD.

Comparing CD to vinyl is deceptive because the analog process of vinyl can loosen up the waveform somewhat, even if it's mastered from the same source. Back when Avocado came out, I transferred the vinyl and looked at the waveform and it was basically a solid brick like the CD but with some added analog distortions. It also didn't sound any different than the CD to me. Backspacer was the same story. If the vinyl was mastered properly, it would have much wider dynamic range than the CD...and almost twice the DR.

Also, DR numbers can be somewhat deceptive. Binaural and Riot Act are mastered much better than Avocado but they are only one DR number higher, probably because they have been limited somewhat. Avocado is smashed to all hell in comparison.

Wendy Carlos's Twin wrote:Also, DR numbers can be somewhat deceptive. Binaural and Riot Act are mastered much better than Avocado but they are only one DR number higher, probably because they have been limited somewhat. Avocado is smashed to all hell in comparison.

Yup. I think I mentioned that earlier in the thread, but it's worth repeating.

One thing that Riot Act did well, that Binaural was hit or miss on and Avocado flat out blew ass, was separation without loss. Those instruments were fantastically sculpted, on Riot Act....their frequency ranges were very defined, allowing them to feed the mix without crowding each other.

Binaural does a fair job of this, depending on the song, but Avocado was like Magic: shared frequency ranges were just allowed to mash into each other. It creates a unique kind of very harsh distortion, in some ranges, and that's a lot of what I'm hearing on that album.

"What should we do with this guitar?"
"Hmm. It's not bright or present enough. Can we up it at....how about 3k, and then 10-12, for a little sparkle."
"Okay. That's a little weird, but whatever. What about these cymbals?"
"They're okay, but they should be...I dunno. Splashier. And shiny...like sunshine! Up them at 3k....and then 10-12."
"Uh."
"And that vocal. It's all buried now. Up it at 3, and then a little bit around 10-12."
"Are you....sure you know what you're doing??"
"Hodor."
"I....uh....okay. It's your call, I guess. The bass?"
"I'm really over rich tones, these days. Gut the warmth, get it bone dry. Then, just for shits and giggles, boost it at 3 and..."