Red Mosquito

nomorecrackpipes wrote:I simply think many confuse production and loudness, that's all. I could get more involved, but I'm at work and this audit isn't auditing itself.

nomorecrackpipes wrote:
As per point 1, I'm not positive how much blame goes on O'Brien because a lot of the extreme loudness (aural fatigue) comes from mastering, whereas Gateway Mastering I think has done most of the PJ albums (including Avocado). Gateway also did the Vs/Vitalogy reissues that are also hard to listen to. The unmastered Avocado songs give us a glimpse that the last two albums could have sounded far better.

Mine wrote:

nomorecrackpipes wrote:
As per point 1, I'm not positive how much blame goes on O'Brien because a lot of the extreme loudness (aural fatigue) comes from mastering, whereas Gateway Mastering I think has done most of the PJ albums (including Avocado). Gateway also did the Vs/Vitalogy reissues that are also hard to listen to. The unmastered Avocado songs give us a glimpse that the last two albums could have sounded far better.

Producers are in charge of that too but it's the bands fault in my opinion.

MemoFromTurner wrote:What with BOB cowriting a lot of songs for the Train album and Ed hobsnobbing with One Direction I don't know what to believe in any more. My moral compass is spinning wildly as I look to these middle aged white dudes to guide me.

EJ wrote:Has a loudness war question ever been brought up in those pj radio roundtable discussions?

Birds in Hell wrote:

Mine wrote:

nomorecrackpipes wrote:
As per point 1, I'm not positive how much blame goes on O'Brien because a lot of the extreme loudness (aural fatigue) comes from mastering, whereas Gateway Mastering I think has done most of the PJ albums (including Avocado). Gateway also did the Vs/Vitalogy reissues that are also hard to listen to. The unmastered Avocado songs give us a glimpse that the last two albums could have sounded far better.

Producers are in charge of that too but it's the bands fault in my opinion.

I agree that, ultimately, the buck stops with Messrs Vedder, Gossard, Ament, McCready and Cameron.

It's their work, they could take a more active role in how it turns out but it appears they're either wilfully ignorant of the technical aspects of music production or they actively wanted S/T and Backspacer to sound the way that they did. Neither is very complimentary, really.

nomorecrackpipes wrote:

EJ wrote:Has a loudness war question ever been brought up in those pj radio roundtable discussions?

At a Q&A somewhere (the roundtable maybe? I can't find a link, but it was at some point within the last two years) he was asked this question and he said "I don't care." That made me sad.

Birds in Hell wrote:

nomorecrackpipes wrote:

EJ wrote:Has a loudness war question ever been brought up in those pj radio roundtable discussions?

At a Q&A somewhere (the roundtable maybe? I can't find a link, but it was at some point within the last two years) he was asked this question and he said "I don't care." That made me sad.

I remember someone asking Vedder at some point about the increased use of heavy compression in modern music production and he admitted he had no idea what that meant.

cutuphalfdead wrote:

Birds in Hell wrote:

nomorecrackpipes wrote:

EJ wrote:Has a loudness war question ever been brought up in those pj radio roundtable discussions?

At a Q&A somewhere (the roundtable maybe? I can't find a link, but it was at some point within the last two years) he was asked this question and he said "I don't care." That made me sad.

I remember someone asking Vedder at some point about the increased use of heavy compression in modern music production and he admitted he had no idea what that meant.

I remember that. I died a little that day.

cutuphalfdead wrote:

Birds in Hell wrote:

nomorecrackpipes wrote:

EJ wrote:Has a loudness war question ever been brought up in those pj radio roundtable discussions?

At a Q&A somewhere (the roundtable maybe? I can't find a link, but it was at some point within the last two years) he was asked this question and he said "I don't care." That made me sad.

I remember someone asking Vedder at some point about the increased use of heavy compression in modern music production and he admitted he had no idea what that meant.

I remember that. I died a little that day.

bodysnatcher wrote:

cutuphalfdead wrote:

Birds in Hell wrote:

nomorecrackpipes wrote:

EJ wrote:Has a loudness war question ever been brought up in those pj radio roundtable discussions?

At a Q&A somewhere (the roundtable maybe? I can't find a link, but it was at some point within the last two years) he was asked this question and he said "I don't care." That made me sad.

I remember someone asking Vedder at some point about the increased use of heavy compression in modern music production and he admitted he had no idea what that meant.

I remember that. I died a little that day.

Ed doesn't like doing homework, and I would consider learning about loudness is part of that

stip wrote:is the compression simply for the radio, or do the shitty earbud speakers most people probably listen to music through also benefit from the compression?

theplatypus wrote:THERE IS NOTHING PEARL JAM CAN DO, NO CRIME SO HORRIFIC AND EGREGIOUS, THAT STIP WON'T (at least passively) ATTEMPT TO DEFEND

stip wrote:

theplatypus wrote:THERE IS NOTHING PEARL JAM CAN DO, NO CRIME SO HORRIFIC AND EGREGIOUS, THAT STIP WON'T (at least passively) ATTEMPT TO DEFEND

not remastering their stuff for the vinyl that audiophiles want is pretty weak, and I'm in general not a fan of the compression. I'm more interested in finding out why this seems to be the direction the entire industry is moving in, and radio seems pretty flimsy on its own given how people consume music. if thejambi is right then it makes more sense