Liz Phair, Hillary Duff, Avril vocal chains..

[Rush909]

Originally Posted by jonnyclueless

With the amount of tuning, stretching, and editing he's gonna have to do, it's not gonna matter too much. I have worked on Hilary's stuff myself and I feel the poor guys pain.He shuld get performance credits.

is there anyone on this forum that has NOT worked on Hillary Duff???? man that girl gets around...

r.

[joeq]

Originally Posted by Rush909

is there anyone on this forum that has NOT worked on Hillary Duff???? man that girl gets around...

r.

I have this vision of a giant warehouse filled with row upon row of desks and at every desk, and engineer and a DAW. The sign on the outside of the warehouse reads "Hillary Duff Vocal Tuning"

[Soundog]

Originally Posted by Rush909

Do you guys honestly hear a perceptable difference in sound quality when going through those cabels? the are around 300$ for 8ft... I would buy them if they even improve 10%... do they?, or do you have them cause you just "gotta have the best" ?

I definitely hear a difference - but like microphones, best depends on what you are trying to achieve and is NOT necessarily the most expensive. I might be a gear slut but I'm not a gear snob.

Well, here's to re-opening a can of worms...
******//gearslutz.com/board/showthrea...t=26903&page=2

Come to think of it I think I wouldn't mind working on Hilary Duff...

[henryrobinett]

Originally Posted by jonnyclueless

And interestingly enough when you switch between a modern song and one of the older ones, the olderones sound so much bigger on the radio. They are more 3 dimentional, smoother, wider, and more pleasing to listen to. The caliber of artist or mix engineer isn't any different, just that one has been limitted to death.

And limited at least twice. You are aware, of course, that all radio stations compress/limit the output to death as well? So I don't kknow where this puts the argument.

BTW I despise the over limiting wars and the squashing of dynamics, but then again I'm a "jazz people" so there. But as a musician, music is about, in no small measure, DYNAMICS. So go figure. That's the other thing I despise - engineers making essentially musical decisions. And when you suash the dynamics, in many cases, not all, you are greatly effecting the performance intended.

[djui5]

Originally Posted by Rush909

is there anyone on this forum that has NOT worked on Hillary Duff???? man that girl gets around...

r.

I haven't.

[JP11]

The Beatles and Phair/Duff/Lavigne in the same thread?

I had to stop reading, I'm feeling sick...horribly horribly sick.

[jonnyclueless]

Originally Posted by henryrobinett

And limited at least twice. You are aware, of course, that all radio stations compress/limit the output to death as well? So I don't kknow where this puts the argument.

The argument is that over limitting and compressing everything to hell makes the mixes jimp out on radio. And when one says radio, that means just what it is, a signal being smashed with compression and sent out over am/fw airwaves. But I can listen to plenty of songs on the radio that haven't been overlimitted in mastering and they sound BIGGER over radio.

[Rush909]

I think this argument over limiting or not is really a moot one... I was listening today on the radio and on comes every step you take by the Police... and for some reason this limit/don't limit war came to mind and I listened to the entire song from that perspective... That song has dynamics and sounded huge on the radio... I really enjoyed the song from that perspective and it struck me that as a musician and producer, I like things to have an ebb and a flow. I like the way dynamics in songs make them groove and keep your interest etc... that is just MY Sensability... Someone out there will have different sensabilities...

Brickwall limiting is just the current dominating "sensabilty"... that sensability can be brought on by an emotional decision that needs to feel "overloaded" or one brought on by a cerebral desire that percieves that "louder is better"... Either way as time moves on so will the dominant sensabilities change and so will the sound you hear on the radio...

r.

[tomwehrle]

Originally Posted by jonnyclueless

I think consumers should be offerd a version of CDs that haven't been so limitted. Like how they used to have special edition CDs that were right from the masters. Maybe a version where the mastering engineer backs off the limiters.

Bummer, I thought you were gonna request for consumers to be able to buy a version without auto-tune...now that could truly hurt some ears

[jayfrigo]

Originally Posted by jonnyclueless

The argument is that over limitting and compressing everything to hell makes the mixes jimp out on radio. And when one says radio, that means just what it is, a signal being smashed with compression and sent out over am/fw airwaves. But I can listen to plenty of songs on the radio that haven't been overlimitted in mastering and they sound BIGGER over radio.

If you read what both Robert Orban and Frank Foti have to say about it, and pretty much every radio station goes through one of their processors, you'll hear them say that smashing songs with heavy limiting and clipping indeed makes them sound worse and smaller on radio. It's just plain wrong that smashing it will make it jump out on radio. Big myth. Want it to sound better on radio? Limit and clip less.

Read it here:

******//www.omniaaudio.com/tech/mastering.htm