Red Mosquito

Studio records he still sounds great in my opinion. Live doesnt bother me because fuck he's 50 years old and been screaming his lungs out for 25 years and there are still moments he can send chills down my spine

Strat wrote:Studio records he still sounds great in my opinion. Live doesnt bother me because fuck he's 50 years old and been screaming his lungs out for 25 years and there are still moments he can send chills down my spine

THIS

Strat wrote:

durdencommatyler wrote:I don't have the problem with Ed's modern vocal style that everyone else seems to have.

The most Strat/Joey post ever

Strat wrote:

durdencommatyler wrote:I don't have the problem with Ed's modern vocal style that everyone else seems to have.

This is kind of how I feel about "brickwalling."

Kevin Davis wrote:

Strat wrote:

durdencommatyler wrote:I don't have the problem with Ed's modern vocal style that everyone else seems to have.

This is kind of how I feel about "brickwalling."

Yeah, I'm kinda with you. At least when it's used with a purpose, which many don't even seem to accept as a possibility.

I listen to music pretty loudly on headphones so brickwalling hurts my ears and makes everything sound like shit

But what if, like, they WANT your ears to hurt?

LoathedVermin72 wrote:

Strat wrote:

durdencommatyler wrote:I don't have the problem with Ed's modern vocal style that everyone else seems to have.

The most Strat/Joey post ever

theplatypus wrote:I listen to music pretty loudly on headphones so brickwalling hurts my ears and makes everything sound like shit

If I'm shuffling between albums, I'm constantly tinkering with the volume from track to track anyway, so it's not like turning the volume down a couple notches when something with really hot mastering comes on really disrupts my rhythm. When listening to an album in full, I just set the volume where I like it and go, just like any other album.

Honestly I'd probably never even know an album was brickwalled without being told. Don't get me wrong, I'm not saying it should be the preferred way of doing things, but much like lyrics seem to be for much of RM, mastering quality is just nowhere near the top of the list of things that catches my ear when listening to music.

I'm mostly Team KD here.

Sometimes its enough to really bother me. But it's low on my list of priorities or problems or whatever. But, yeah, sometimes it drives me nuts.

I DO think that S/T sounds a little bit to loud and noisy, but its not as bad as, say, Californication...

Kevin Davis wrote:When listening to an album in full, I just set the volume where I like it and go, just like any other album

The problem is, with the more egregious examples of brickwalling, that's hard to do. Because I want to listen at a certain volume but it will clip and distort and cause hearing fatigue.

Brickwalling is not a dealbreaker but a nice-sounding album with a dynamic range will always be preferable. I love several of the songs on When I Was Cruel but it is hard for me to listen to it for extended periods because the production is so ugly.

LoathedVermin72 wrote:

Kevin Davis wrote:

Strat wrote:

durdencommatyler wrote:I don't have the problem with Ed's modern vocal style that everyone else seems to have.

This is kind of how I feel about "brickwalling."

Yeah, I'm kinda with you. At least when it's used with a purpose, which many don't even seem to accept as a possibility.

I agree

The difference between listening to a record on vinyl and Spotify is incredible.

Thats why im The VinylGuy and not SpotifyGuy.

theplatypus wrote:

Kevin Davis wrote:When listening to an album in full, I just set the volume where I like it and go, just like any other album

The problem is, with the more egregious examples of brickwalling, that's hard to do. Because I want to listen at a certain volume but it will clip and distort and cause hearing fatigue.

Brickwalling is not a dealbreaker but a nice-sounding album with a dynamic range will always be preferable. I love several of the songs on When I Was Cruel but it is hard for me to listen to it for extended periods because the production is so ugly.

jorge gets it

I understand the objections to it, I just don't have an ear for picking it out and have never found myself unable to listen to an album that I've later found suffers from it. I'm used to listening to things with all kinds of sonic anomalies, from shitty Dylan bootlegs to crummy old jazz recordings to overmastered modern rock records -- my instinct is always to listen through the imperfections to hear what's happening in the music.

I'm not trying to say that no one should care about it, I'm just saying it's low on the list of things I respond to in music.

Brickwalling is one of the worst things for me because it doesn't just sound bad, but it physically hurts to listen to it after a while. To me, listening through a shitty bootleg recording is an entirely different animal.

The physical pain thing is just not something I've ever experienced in regards to brickwalling. Shitty mp3 quality is my poison -- that drives me bonkers.

I prefer brickwalling to Yoko Ono.

theplatypus wrote:I listen to music pretty loudly on headphones so brickwalling hurts my ears and makes everything sound like shit

Me too, I doubt it would bother me quite so much if I wasn't primarily listening to music on headphones.

I wouldn't say it's painful either necessarily, though it can give me a headache, it's more that it's seriously fatiguing - there's no way I can listen to a heavily brickwalled album for more than 10 or 15 minutes without feeling my ability to concentrate wane. It's a kind of aural over-stimulation.

I really enjoy focusing on the textural detail in music - the way a snare hit rings out, the graininess of a guitar tone, etc. - and heavy-handed mastering seems to blur much of that.