Dennis, Ah, well I meant no offense. When he said it he seemed pretty amused, (I was talking to him about the possibility of mastering some of stuff, like thousands of others) and we both chuckled at the idea of just lathering in saturation, just for sake of sounding like ''whoever'' - it wasn't a Deep Chord release we talked about, I'd rather not name names. But I still think it's lame - it's like BC never happened. Anyway, the reason I posted was to hopefully spur a conversation about the total overproduction of music, which this thread had drifted on to. It seems like so many releases are guilty of digitising the soul out of the music, which could be due to the tendency to over-compress, normalize every sample (or the stereo master), or to get the mastering guy to take all the dynamic range out of a track by pumping it beyond measure. Pro-Tools is a definite culprit in giving releases a homogenous 'sound', unless your careful. Also with the advent of units like the Finalizer, more people are pre-mastering, which only aggravates the problem. It all makes for cool peak-time stormers, but for music with a little ''soul'', it can be a problem, in my opinion. What's interesting is that hip hop guys manages to imbue their music with a lot of spirit and soul and funk, while at the same time using whatever effects they can to pump up the music and make it louder, which his maybe due to their original sound sources, but also their unwillingness to be trapped into quantization and program beats in a different way. So maybe dance guys need to stop using sound modules and Roland kit, and open the net sound-wise? I'm just intersted in people's opinions, I've been dying to talk about this with intelligent people for a while now, and I'm not interested in being ''right'' - just talking about it. thanks, Andrew
> > > > ----- Original Message ----- > From: "Dennis Donohue" <[EMAIL PROTECTED]> > To: "'Andrew'" <[EMAIL PROTECTED]>; <[email protected]> > Sent: Monday, February 03, 2003 3:13 PM > Subject: RE: (313) Suburban Knight > > > > Actually - Ron was just talking about one of these instances, and it was > for > > Deepchord. It was not to sound "like Jeff Mills", but rather to give it > > more noise in the background. > > > > -----Original Message----- > > From: Andrew [mailto:[EMAIL PROTECTED] > > Sent: Monday, February 03, 2003 12:54 AM > > To: [email protected] > > Subject: Fw: (313) Suburban Knight > > > > > > > > > > hear hear - too much pro tools, over-production, or over-mastering. > > That's why I keep buying Detroit, cause the producers remember to keep > the > > grime in there. I heard stories about people asking Ron Murphy to blend > in > > tape noise from a seperate channel so it can ''sound like Jeff Mills'' - > > how > > lame is that? > > > > > > > > > > ----- Original Message ----- > > > From: <[EMAIL PROTECTED]> > > > To: "James Bucknell" <[EMAIL PROTECTED]> > > > Cc: "313 Detroit" <[email protected]>; "Cyclone Wehner" > > > <[EMAIL PROTECTED]> > > > Sent: Monday, February 03, 2003 3:14 AM > > > Subject: Re: (313) Suburban Knight > > > > > > > > > > > > Gotta agree with you both - it's getting hard to find new releases that > > > don't sound super slick - techno, house, what have you. Especially > > anything > > > tagged tech-house. Blech. I like to hear some intrinsic errors in the > > music > > > - it makes it sound like someone is actually behind the work. There are > > > countless tunes out there that sound so "professional" yet they lack any > > > sense of a heartbeat. Take just about anything off the Wiggle label, for > > > example. Everything is too clean and smooth - they compensate with a > > "phat" > > > bassline but the real funk is missing. Give me some ruff cut samples ala > > > Todd Edwards/Todd Terry any old day. > > > > > > MEK > > > > > > > > > > > > > > > James Bucknell > > > <[EMAIL PROTECTED] To: Cyclone Wehner > > > <[EMAIL PROTECTED]>, 313 Detroit <[email protected]> > > > com.au> cc: > > > Subject: Re: (313) > > Suburban > > > Knight > > > 02/03/03 11:20 PM > > > > > > > > > > > > > > > > > > > > > > > > i've always loved house and techno for their minimalism--a few bits of > > > roland equipment and a four track reel to reel. > > > > > > > > > i find most contemporary tracks to be as overproduced as any bit of > prog. > > > house/trance. it's a challenge to spend any money when i go record > > > shopping. > > > > > > instead, i've taken to re-editing older tracks and saving my money for > > > final > > > scratch. > > > james > > > > > > > > > > > > > >> Wibo Lammert: > > > >>> As to the Mastering: Those first 2 transmats of his sounds like > sh*t. > > > That > > > >>> Dark Energy doublepack sounds a whole lot better. > > > >> > > > >> Gotta disagree wth u for the first time old bean (let's not make a > > habit > > > of > > > >> this ;-) - My opinion is that 'Art of Stalking' along with many other > > > >> seminal Detroit techno (which implies a particular period) > benefitted, > > > >> purposefully or not, from the ironic lack of the latest technology at > > > all > > > >> points of the production process. Those trax sound grimy, glitchy, > > > scratchy > > > >> and minimal, sometimes even the sequencing is a bit suspect. But > > somehow > > > (I > > > >> admit, I'm not sure how) often, all those elements came together to > > form > > > an > > > >> unmistable kind of human touch which proved there really was a ghost > in > > > the > > > >> machine (called soul.) > > > >> k > > > > > > > > > > > > > > > > > > > > > > > > > >
