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Party In The USA - worst mix to ever reach the #1 spot ?
Old 26th January 2011
  #61
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dasindevin's Avatar
 

Quote:
Originally Posted by akai96 View Post
Serban just isn't very good - HOWEVER - his hard style of mixing is IN amongst the taste of the youth pop buying frat house.....
.
What The ****![/QUOTE]

because you know those frat boys love their miley cyrus...?

i do believe there is a couple of years between tween and big 10 keg stand
Old 27th January 2011
  #62
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Mark D.'s Avatar
 

I actually prefer the Maroon 5 mixes, while mastered hotter than they wanted and probably was ideal, the mixes in my opinion were brilliant. That's a matter of taste of course, but objectively, there is less over-saturation, and the vocals are less strident. I'd prefer excitement in a mix beyond distortion, clipping, and harsh midrange peaks.

It's interesting since many had issues with Maroon 5's mastered level and resulting saturated sound. This has far more of that. There's at least some dynamics in the Maroon 5. This mix & master just sounds like the elongated brick it probably will look like if you brought it up in a DAW. It's so obvious you can almost see it as you hear it.
Old 28th January 2011
  #63
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Quote:
Originally Posted by Mark D. View Post
This mix & master just sounds like the elongated brick it probably will look like if you brought it up in a DAW. It's so obvious you can almost see it as you hear it.
Not quite.

Clearly more dynamics are left in the Miley track, but I could tell this was the case even before looking at them in the editor. I think both songs are mixed great though.

Miley Cyrus - Party In The USA


Maroon 5 - Misery
Old 28th January 2011
  #64
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Interesting at first, but then I'm seen enough deceptive waveforms in my time. I recall getting a mix to master that wasn't unlike the Miley wave up there. In fact, -6db peaks. But so much saturation on each track that it sounded squashed. Clearly the saturation heard in her track is a result of the mixing, as those waveforms prove. The mastering engineer clearly didn't clip it too much. I don't suspect it was clipped much in mixing, just very heavily compressed on either the track or bus level, or both. Obviously the Maroon track got hit on the master stage, as that illustrates. But a better and more dynamic mix can better handle harder limiting at the last stage.
Old 29th January 2011
  #65
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doubledecker's Avatar
Quote:
Originally Posted by Mark D. View Post
Interesting at first, but then I'm seen enough deceptive waveforms in my time. I recall getting a mix to master that wasn't unlike the Miley wave up there. In fact, -6db peaks. But so much saturation on each track that it sounded squashed. Clearly the saturation heard in her track is a result of the mixing, as those waveforms prove. The mastering engineer clearly didn't clip it too much. I don't suspect it was clipped much in mixing, just very heavily compressed on either the track or bus level, or both. Obviously the Maroon track got hit on the master stage, as that illustrates. But a better and more dynamic mix can better handle harder limiting at the last stage.




Old 27th March 2012
  #66
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IAMGI Services's Avatar
 

I understand the things that may not sound good dynamically from a sonic stand point, but from a BUSINESS stand point to get the single to sell to its intended audience, I think its EXACTLY what needed to be done at that point in time to get it to be well received by its intended audience (teenage girls) who dont care much about sound as long as its exciting and easy to understand (rather than by grown men who may criticize a mix of a pop song by Miley Cyrus, and she didn't even like the song lol).

Unfortunately in this business, it isn't always about what sounds the best. A lot of time to keep your job, what sales is a HUGE factor and you just have to fit your personality and sonic wisdom in between as much as possible without stepping too far beyond what the client wants.

Now with that being said, being a DJ for 10 years, then producing, and now mixing; after playing numerous Serban mixed tracks for thousands of people in different cities on hundreds of different sound systems, I see and understand why his mixes flood the clubs and radio. The excitement from his mixes do something to a crowd that other tracks do not and its REALLY evident when your watching 1000+ people move at once in front of you.

...its not always just about what sounds good, but what is the end goal for that record??
(If you do not understand what I am saying, then maybe it is time to pick up a book about the music industry, or better yet, put yourself into it as a full time job rather than a Hobby and I think this all will become self evident REAL fast. Sonic clarity of that song OBVIOUSLY wasn't the #1 priority from the label to make that song a success, and looks like they were right.)
Old 27th March 2012
  #67
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BlackBackDrop's Avatar
 

Quote:
Originally Posted by IAMGI Services View Post
I understand the things that may not sound good dynamically from a sonic stand point, but from a BUSINESS stand point to get the single to sell to its intended audience, I think its EXACTLY what needed to be done at that point in time to get it to be well received by its intended audience (teenage girls) who dont care much about sound as long as its exciting and easy to understand (rather than by grown men who may criticize a mix of a pop song by Miley Cyrus, and she didn't even like the song lol).

Unfortunately in this business, it isn't always about what sounds the best. A lot of time to keep your job, what sales is a HUGE factor and you just have to fit your personality and sonic wisdom in between as much as possible without stepping too far beyond what the client wants.

Now with that being said, being a DJ for 10 years, then producing, and now mixing; after playing numerous Serban mixed tracks for thousands of people in different cities on hundreds of different sound systems, I see and understand why his mixes flood the clubs and radio. The excitement from his mixes do something to a crowd that other tracks do not and its REALLY evident when your watching 1000+ people move at once in front of you.

...its not always just about what sounds good, but what is the end goal for that record??
(If you do not understand what I am saying, then maybe it is time to pick up a book about the music industry, or better yet, put yourself into it as a full time job rather than a Hobby and I think this all will become self evident REAL fast. Sonic clarity of that song OBVIOUSLY wasn't the #1 priority from the label to make that song a success, and looks like they were right.)
I would to say what a fabulous post this is. I wish more people understood that music is simply about movement.
Old 27th March 2012
  #68
It's just Damn Awful music......just a kick/snare on 2 and 4with no other drums.....yucko.

So glad I don't have to hear it[unless I wan't to feel ill!],and pity the poor bastards that do.
Old 27th March 2012
  #69
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Quote:
Originally Posted by hankdrummer View Post
it's not about it being loud or not (i don't really bother about that stuff), just listen to how the huge bass destroys the drums on the chorus.
It doesn't perfectly null with Back in Black! It's gotta' be a mistake, right?
Old 28th March 2012
  #70
Quote:
Originally Posted by Cheebs Goat View Post
It doesn't perfectly null with Back in Black! It's gotta' be a mistake, right?
Funny you should mention...our national free to air video show "rage" played a very early 80/81 live clip of B in B, the other night and whoah!,made me remember what rock IS!

I saw that tour but I was 16....tooo long ago,I think the fact that, the outside Audience[that didn't get in] "flattened" the roof on my VW bug after the show,took the memory away,Hmmm Smily Virus,twas the topic?
Old 30th March 2012
  #71
Here for the gear
 

Quote:
Originally Posted by IAMGI Services View Post
I understand the things that may not sound good dynamically from a sonic stand point, but from a BUSINESS stand point to get the single to sell to its intended audience, I think its EXACTLY what needed to be done at that point in time to get it to be well received by its intended audience (teenage girls) who dont care much about sound as long as its exciting and easy to understand (rather than by grown men who may criticize a mix of a pop song by Miley Cyrus, and she didn't even like the song lol).

Unfortunately in this business, it isn't always about what sounds the best. A lot of time to keep your job, what sales is a HUGE factor and you just have to fit your personality and sonic wisdom in between as much as possible without stepping too far beyond what the client wants.

Now with that being said, being a DJ for 10 years, then producing, and now mixing; after playing numerous Serban mixed tracks for thousands of people in different cities on hundreds of different sound systems, I see and understand why his mixes flood the clubs and radio. The excitement from his mixes do something to a crowd that other tracks do not and its REALLY evident when your watching 1000+ people move at once in front of you.

...its not always just about what sounds good, but what is the end goal for that record??
(If you do not understand what I am saying, then maybe it is time to pick up a book about the music industry, or better yet, put yourself into it as a full time job rather than a Hobby and I think this all will become self evident REAL fast. Sonic clarity of that song OBVIOUSLY wasn't the #1 priority from the label to make that song a success, and looks like they were right.)
awesome post.
Old 30th March 2012
  #72
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FireMoon's Avatar
If someone sang me the lyrics to that song and they weren't walking like a penguin with a bad case of diarrhoea with the sheer, arse clenching, sphincter tightening embarrassment factor, I'd probably die laughing.
Old 1st April 2012
  #73
Gear Maniac
 

Party in my pants? What is this.
Old 7th September 2012
  #74
Gear Head
 

Quote:
Originally Posted by IAMGI Services View Post
I understand the things that may not sound good dynamically from a sonic stand point, but from a BUSINESS stand point to get the single to sell to its intended audience, I think its EXACTLY what needed to be done at that point in time to get it to be well received by its intended audience (teenage girls) who dont care much about sound as long as its exciting and easy to understand (rather than by grown men who may criticize a mix of a pop song by Miley Cyrus, and she didn't even like the song lol).

Unfortunately in this business, it isn't always about what sounds the best. A lot of time to keep your job, what sales is a HUGE factor and you just have to fit your personality and sonic wisdom in between as much as possible without stepping too far beyond what the client wants.

Now with that being said, being a DJ for 10 years, then producing, and now mixing; after playing numerous Serban mixed tracks for thousands of people in different cities on hundreds of different sound systems, I see and understand why his mixes flood the clubs and radio. The excitement from his mixes do something to a crowd that other tracks do not and its REALLY evident when your watching 1000+ people move at once in front of you.

...its not always just about what sounds good, but what is the end goal for that record??
(If you do not understand what I am saying, then maybe it is time to pick up a book about the music industry, or better yet, put yourself into it as a full time job rather than a Hobby and I think this all will become self evident REAL fast. Sonic clarity of that song OBVIOUSLY wasn't the #1 priority from the label to make that song a success, and looks like they were right.)

Let me just say, awesome post!
I just shook my head at all the criticisms to Serban. Sounds like the type of attitudes and personalities that don't adapt. I find it amusing that one cannot pick out the deliberate and stylistic decisions that Serban Ghenea makes in his mixes. I think he is one of the greatest doing what he does right now.
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