Red Mosquito

I've been going through the 2000 shows, it's really sad that they couldn't get the live energy onto this record. Maybe they needed more time with Matt, the album is great still, but live, it was blown away.

tragabigzanda wrote:Let's all blame bammer and wease for Lightning Bolt from here on out

Well I have attended about 13 LB era shows...

Bammer wrote:

tragabigzanda wrote:Let's all blame bammer and wease for Lightning Bolt from here on out

Well I have attended about 13 LB era shows...

That's like 13 bad dates.

Bammer wrote:

tragabigzanda wrote:Let's all blame bammer and wease for Lightning Bolt from here on out

Well I have attended about 13 LB era shows...

I went to 4.

Brooklyn 2 2013, Global Citizens 2015, MSG 2 2016...so 3. I will support Lightning Bolt but I prefer not to support the whole “we’re playing 6 shows in baseball stadiums and that’s it!” game. I can’t imagine what it’s like at those enormous venues but the few football stadium shows I saw over the years, it was just too big to appreciate.

liebzz wrote:Brooklyn 2 2013, Global Citizens 2015, MSG 2 2016...so 3. I will support Lightning Bolt but I prefer not to support the whole “we’re playing 6 shows in baseball stadiums and that’s it!” game. I can’t imagine what it’s like at those enormous venues but the few football stadium shows I saw over the years, it was just too big to appreciate.

All the PJ shows I saw in larger venues were amongst the worst I've ever attended by any band, because their pussy sound system couldn't throw sound any further than the first couple of rows. I definitely got the general feeling like I was better off sitting in my living room, putting on a live DVD and playing with myself.

Wendy Carlos's Twin wrote:

liebzz wrote:Brooklyn 2 2013, Global Citizens 2015, MSG 2 2016...so 3. I will support Lightning Bolt but I prefer not to support the whole “we’re playing 6 shows in baseball stadiums and that’s it!” game. I can’t imagine what it’s like at those enormous venues but the few football stadium shows I saw over the years, it was just too big to appreciate.

All the PJ shows I saw in larger venues were amongst the worst I've ever attended by any band, because their pussy sound system couldn't throw sound any further than the first couple of rows. I definitely got the general feeling like I was better off sitting in my living room, putting on a live DVD and playing with myself.

I feel like this has been a general problem with them going back to when I saw them in 98 in NJ. I was on the floor, and i thought the sound could of been better, my friend up in the 200's couldn't hear shit.

lowlight79 wrote:I've been going through the 2000 shows, it's really sad that they couldn't get the live energy onto this record. Maybe they needed more time with Matt, the album is great still, but live, it was blown away.

Some on here have been able to really appreciate the sound Tchad Blake got from the band, but for me it has always been like a piece of plastic between me and the music, even though I love most of the songs. Grievance is the best example....that neutered sound on the album compared to that first performance on Letterman is night and day.

Being a lifetime fan of a band has ups and downs that I didn't anticipate when I was 18. The band that captured RVM in the studio falters on Grievance. The band who blew the doors off in 1996 has a weak guitar sound from McCready in 2006 (Eastern Leg for sure). Just how it goes.

Binaural was a grower though. I liked it so much more after the 2000 tour.

Can someone pm me the link?

Thanks!

Brendan O’brien remixed most of the album Including grievance. I think he made the plastic

tragabigzanda wrote:Blake has a very idiosyncratic recording technique, and is known for capturing a great sense of space and atmosphere; he also does a lot of processing in the mix to get some fun textures. I agree that any misgivings one may have about the sound of the album should be placed with BOB, who took a very conventional approach to mixing some very unconventional tracks.

I've wondered how much a role that played in the final product.

yeah that album sounds amazing.

Binaural is still my favorite Pearl Jam album, but I agree it would have been better served with a different recording or production. If they kept their faith in Tchad, then let him or someone else do their thing to really accentuate his more unconventional and innovative recording techniques. Otherwise record and mix everything in a similar fashion to Yield, because that's hands down the best sounding Pearl Jam record, and I think the Binaural songs would have benefited from a similar treatment.

Hatfield wrote:

tragabigzanda wrote:Blake has a very idiosyncratic recording technique, and is known for capturing a great sense of space and atmosphere; he also does a lot of processing in the mix to get some fun textures. I agree that any misgivings one may have about the sound of the album should be placed with BOB, who took a very conventional approach to mixing some very unconventional tracks.

I've wondered how much a role that played in the final product.

From what I remember reading sometime around 2001-2002, the band really wasn't happy with the final mixes and when they told Tchad Blake this, he was pissed and told them to fuck off. So they went to BOB, Blake was Eddie's idea, he had worked with Crowded House.

lowlight79 wrote:

Hatfield wrote:

tragabigzanda wrote:Blake has a very idiosyncratic recording technique, and is known for capturing a great sense of space and atmosphere; he also does a lot of processing in the mix to get some fun textures. I agree that any misgivings one may have about the sound of the album should be placed with BOB, who took a very conventional approach to mixing some very unconventional tracks.

I've wondered how much a role that played in the final product.

From what I remember reading sometime around 2001-2002, the band really wasn't happy with the final mixes and when they told Tchad Blake this, he was pissed and told them to fuck off. So they went to BOB, Blake was Eddie's idea, he had worked with Crowded House.

I'm assuming I could look this up, but are tracks like the three instrumentals from Touring Band and the AMAZING outtakes from Binaural (Sad, Education, etc.) the original Blake mixes? O'Brien? Do we know? I always wondered if the Insignificance B Side on the NAIS single was before the O'Brien mix or is it all the same?

tragabigzanda wrote:Blake has a very idiosyncratic recording technique, and is known for capturing a great sense of space and atmosphere; he also does a lot of processing in the mix to get some fun textures. I agree that any misgivings one may have about the sound of the album should be placed with BOB, who took a very conventional approach to mixing some very unconventional tracks.

I’ve listened to a few albums tchad Blake engineered and I think I get the kind of sound he tries to create. All the instruments have their own space but he really gives the drums the low end as well as giving a lot of room and texture to the guitars. Modern rock bands would have the drums and guitars all in the mid range

Wow, I just picked Sweet Lew (Alternative) as the first track to listen to off this playlist.

I feel I'm in an alternate universe as it sounded...good. Can't wait to hear the rest.

First post!

This isn’t my favourite pj album , but it’s definitely the one I am drawn to the most lately. It creates this amazing atmosphere and maintains a consistent mood from beginning to end.

Can someone please pm me a link?

jam80 wrote:First post!

This isn’t my favourite pj album , but it’s definitely the one I am drawn to the most lately. It creates this amazing atmosphere and maintains a consistent mood from beginning to end.

Can someone please pm me a link?

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