Red Mosquito

zeb wrote:

tragabigzanda wrote:

zeb wrote:Sky Blue Sky always sounded out of step with the production of the couple records that came before it and after it.

Just read that most of the album's songs were recorded in a single day. I'm not surprised - the songs themselves are lovely but they are let down sonically by what seems like a need to veer away from YHF and AGIB style arrangements and studio care.

Wild! One of my favorite sounding albums of all time. WTA is the one that feels sonically out of place, it was recorded pretty hot.

Hah, I equate it to the Pumpkins' Adore, whose production similarly drains me of the will to live.

But yeah, WTA is a little too bright in places for sure.

Matters wrote:

tragabigzanda wrote:Sgt Pepper’s

I don’t care for the way they used horns on their songs other than Got to Get You into My Life.

Funny because that's the one Beatles song where I hate the horns most.

And after this recent (but merely rough) outtake, I feel even stronger about it.

Happy Trees wrote:

Matters wrote:

tragabigzanda wrote:Sgt Pepper’s

I don’t care for the way they used horns on their songs other than Got to Get You into My Life.

Funny because that's the one Beatles song where I hate the horns most.

Hard agree.

I hate to say it, but Dark Matter.

I was able to get my ears dialed in to hear Sound and Fury pretty well, I just can't get dialed in on Dark Matter. Headphones, desktop speakers, the car -- I can never feel like I'm hearing what's going on without really working hard at it.

lvc wrote:I hate to say it, but Dark Matter.

I was able to get my ears dialed in to hear Sound and Fury pretty well, I just can't get dialed in on Dark Matter. Headphones, desktop speakers, the car -- I can never feel like I'm hearing what's going on without really working hard at it.

This is an unusual yet very accurate way of describing that phenomenon.

It's the result you used to get when artists/producers are impossible to satisfy and tinker with mixing albums to the point of no return (Axl Rose, Mutt Lange, Andy Partridge - look up any interview where Todd Rundgren explains his plan for producing XTC's "Nonsuch" and banning Partridge from the mixing process in advance).

But now it's standard in commercialized audio production. Everything is the same level and comes screaming at you, and there is no nuance or subtlety or depth (or dare I say, sonic quality) to anything.

"Dark Matter" is a perfect example of that, especially if you compare it to an album like "No Code".

But in a way, we would be here all day listing albums if that sort of thing qualifies.

Happy Trees wrote:

lvc wrote:I hate to say it, but Dark Matter.

I was able to get my ears dialed in to hear Sound and Fury pretty well, I just can't get dialed in on Dark Matter. Headphones, desktop speakers, the car -- I can never feel like I'm hearing what's going on without really working hard at it.

This is an unusual yet very accurate way of describing that phenomenon.

It's the result you used to get when artists/producers are impossible to satisfy and tinker with mixing albums to the point of no return (Axl Rose, Mutt Lange, Andy Partridge - look up any interview where Todd Rundgren explains his plan for producing XTC's "Nonsuch" and banning Partridge from the mixing process in advance).

But now it's standard in commercialized audio production. Everything is the same level and comes screaming at you, and there is no nuance or subtlety or depth (or dare I say, sonic quality) to anything.

"Dark Matter" is a perfect example of that, especially if you compare it to an album like "No Code".

But in a way, we would be here all day listing albums if that sort of thing qualifies.

This is probably why I think I can hear Dark Matter best at low volume. When everything's at 11, nothing's at 11.

Stephen King should write a new book called "on mixing" and just tell producers to kill their darlings i.e. turn a bunch of shit down in the mix so the important stuff gets to own the frequency range.

lvc wrote:When everything's at 11, nothing's at 11.

Stephen King should write a new book called "on mixing" and just tell producers to kill their darlings i.e. turn a bunch of shit down in the mix so the important stuff gets to own the frequency range.

Love this.

lvc wrote:This is probably why I think I can hear Dark Matter best at low volume. When everything's at 11, nothing's at 11.

Stephen King should write a new book called "on mixing" and just tell producers to kill their darlings i.e. turn a bunch of shit down in the mix so the important stuff gets to own the frequency range.

Yes. But these days you not only have to deal with distracted artists, but also "audiophiles" who have never touched a mixing board and can't discern the difference between mixing and mastering.

They'll usually blame it on the mastering and will spend considerable time and money seeking out worthless alternatives like vinyl. But the mixing process comes first, and you can't polish a turd anyway. The cycle continues unchecked.

So if you listen to those rough mixes, you can hear how
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