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Detroit Techno | Detroit History
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http://www.detroit-history.com/newsletter020107.htm
Detroit Techno | Detroit History
Connecting music to people and people to music that matter
http://www.detroit-history.com
An Uplift Recording,USA
Join us at MYSPACE!
http://www.myspace.com/acaciarecordsdetroit
seconded, i really like the selection. almost every tune. for the mixing: it's
ok, but not stellar, right? ;)
thumbs up, anyway!
c*
Original-Nachricht
Datum: Fri, 26 Jan 2007 15:01:02 -0500
Von: Gil Yaker [EMAIL PROTECTED]
An: 313@hyperreal.org
Betreff: RE: (313) Track ID -
fellow list-ees,
as i was listening to kit clayton's wicked track on the new horizons ep from
7th city (http://www.discogs.com/release/31577), i was wondering about
clayton's crunk project.does anyone have any info on this?
sorry if i have asked this before
fab.
I hadn't heard of that Fab. I'm glad to even hear that he's even still
producing music A few years ago it said on his website that he was
giving it all up, more or less. I'm pleased to note that I've just had a
look and it doesn't say that any more!
Good.
Ken
-Original Message-
From:
Pretty cool...
http://www.zshare.net/download/carl_craig_-_live___demon_days_presents-_samuraifm__-_january__2007-mp3.html
nice one, was hoping it would appear on mp3 not just as a stream...
p
Martin Dust wrote:
Pretty cool...
http://www.zshare.net/download/carl_craig_-_live___demon_days_presents-_samuraifm__-_january__2007-mp3.html
No worries P, been rocking the office for a couple of days with it...
m
On 30 Jan 2007, at 16:36, Placid wrote:
nice one, was hoping it would appear on mp3 not just as a stream...
p
Martin Dust wrote:
Pretty cool...
http://www.zshare.net/download/carl_craig_-
Yeah, thanks for sharing Martin...listening now.
robin...
Martin Dust wrote:
No worries P, been rocking the office for a couple of days with it...
I recently bought The Workout mix cd, I haven't bought a cd in years,
but what a disappointment, when I was listen to it, it sounded a bit
rough, kinda like it was clipping, so I opened it in Sound Forge to have
a look. At least 50% of the mix must have been in the red when it was
recorded. What a
I have it and love it but never notice these things as I don't have a
musician's sensitive ears
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: Williams, Graham [mailto:[EMAIL PROTECTED]
Sent: 30 January 2007 16:59
To:
Is it not just really squashed with a compressor rather than clipped?
The two situations look the same in a wave editor (still doesn't help
the sound quality issue though, I hate squashed mastering).
Kent? :)
robin...
Williams, Graham wrote:
I recently bought The Workout mix cd, I haven't
In any case, Carl Craig didn't master this so it's a silly reason not
to buy his mixes.
On Jan 30, 2007, at 11:57, robin wrote:
Is it not just really squashed with a compressor rather than clipped?
The two situations look the same in a wave editor (still doesn't
help the sound quality
I think after all my years of clubbing I don't have musician's
sensitive ears, It definitely doesn't sound right, Listen to it again,
I didn't even listen to the second cd.
G
-Original Message-
From: Robert Taylor [mailto:[EMAIL PROTECTED]
Sent: Tuesday, January 30, 2007 5:01 PM
To:
Agreed.
In any case, Carl Craig didn't master this so it's a silly reason not to
buy his mixes.
-New digital release out now! For Detroit by K-HAND on Acacia
Exclusive, preview and buy now.
-New digital release Jan. 29, 2007 Bing Bop K-HAND (Aaron Carl remix)
on Acacia Exclusive, preview and buy now.
check--http://www.detroit-history.com/digitalstore.htm
-New Vinyl only Techno Release
He probably engineered it himself though... Mastering is usually handled
by the label to give it a second listen with fresh ears.
I engineered the Death in Vegas mix for Richard Fearless for Fabric.
Levels were adjusted by me and then adjusted again by the mastering
facility that Fabric uses.
I don't even know what clipping is and never understand these
conversations - I can't honestly find any fault in the sound of it - it
doesn't sound muffled or distorted and sounds clear enough so it's good
enough for me
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
I opened it in Sound Forge to have a look. At least 50% of the mix must
have been in the red when it was recorded.
..just to repeat what a few people have said - this almost certainly will
not be clipping, just heavy compressing. As a test, open up any commercial
recording in SoundForge and it
On 1/30/07, punkdISCO [EMAIL PROTECTED] wrote:
Its only artists on the fringes that would ever dare not to compress the
hell out of their tracks.
look at early theo parrish records in a wav editor. the peaks of the
kicks will be hitting at 0 and the rest will be at -25dB or some
ridiculous
look at early theo parrish records in a wav editor. the peaks of the kicks
will be hitting at 0 and the rest will be at -25dB or some ridiculous
nonsense like that
At the danger of over simplifying things, DJs are probably the biggest
single culprits for the loss of dynamics in today's music.
Jeeze, why debate?
If it sounds bad enough, don't listen to it. Personally I think most
remastered reissues sound like crap.
Take the Inner Life Jocelyn Brown anthology on salsoul uk. They eff'd up
all the mixes by remastering it for today's systems (and CDs) that can take
more highs and lows
On 1/30/07, punkdISCO [EMAIL PROTECTED] wrote:
At the danger of over simplifying things, DJs are probably the biggest
single culprits for the loss of dynamics in today's music. Its DJs who
don't play the quieter tracks. Its DJs that will play a heavily compressed
(loud) track on the club's PA
On 1/30/07, Gil Yaker [EMAIL PROTECTED] wrote:
Jeeze, why debate?
If it sounds bad enough, don't listen to it. Personally I think most
remastered reissues sound like crap.
Take the Inner Life Jocelyn Brown anthology on salsoul uk. They eff'd up
all the mixes by remastering it for today's
Hi Gil
If it sounds bad enough, don't listen to it etc
I think the almost epidemic concern about the state of today's mastering
comes from the fact that we don't have a choice. You can't simply say
'don't listen to it otherwise you would not listen to anything produced in
the last decade.
If you are an ancient acidhead like me, check into the CBS right now:
2000: The awfull truth about Interr-Ference
Hotmix '95: Originally recorded for and aired on Beyond The QE2
(90.3FM WZBC)
on 11 november 1995. After: In The Mix for VPRO 1993: What starts as
a deep Detroit
mix turns out
On 1/30/07, punkdISCO [EMAIL PROTECTED] wrote:
I think the almost epidemic concern about the state of today's mastering
comes from the fact that we don't have a choice. You can't simply say
'don't listen to it otherwise you would not listen to anything produced in
the last decade. Sure, in
Hi Tom
listen to NCS mastering jobs on many records out of detroit, its not the
case on those... its definitely more of a problem with euro/UK records.
I was not aware of this and its good to know that some people are brave
enough to say 'screw you'..
See you,
Paul
London
Hello to all Chicago-based 313 folk...
First off, I want to send a heartfelt thanks to everyone who came out to the
events we were promoting on January 18th (Smart Bar w/ Afrika Bambaataa,
Steinski, Daedelus, etc) + January 19th (Sonotheque w/ Plus Device, Derek
Plaslaiko, Daedelus, Atomly).
The problem with tracks like the Theo is that they will basically be a
massive kick with not much around it. Either you play it so the
kicks match the level of other tracks, in which case the 'music'
besides the kick will really quiet, or you push the level, so that the
limiter on the sound
The vast majority of the listening public wouldn't notice a thing,
believe me
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: punkdISCO [mailto:[EMAIL PROTECTED]
Sent: 30 January 2007 18:59
To: 313@hyperreal.org
Subject: RE: (313) Carl
On 1/30/07, kent williams [EMAIL PROTECTED] wrote:
The problem with tracks like the Theo is that they will basically be a
massive kick with not much around it. Either you play it so the
kicks match the level of other tracks, in which case the 'music'
besides the kick will really quiet, or you
Ron Murphy does a pretty good job of doing just enough when he cuts
that there is still some dynamics left. The Prairie Cat guy (who did
a lot of 430 West records) is the same way. They both cut really
well-balanced records. There's plenty of limiting and compression
involved, they just don't
Haha now you're really taking me back -- I have this on two cassettes
Teep sent me.
On 1/30/07, Klaas-Jan Jongsma [EMAIL PROTECTED] wrote:
If you are an ancient acidhead like me, check into the CBS right now:
2000: The awfull truth about Interr-Ference
Hotmix '95: Originally recorded for and
From the prairie cat FAQ:
http://www.prairiecatmastering.com/qna.html
Q: Why do my import records sound louder?
A: The standard for mastering vinyl in certain European countries is
different than what we have in America. One big difference is that these
import records have a zero level
On 30 Jan 2007, at 19:54, Jamil Ali wrote:
From the prairie cat FAQ:
http://www.prairiecatmastering.com/qna.html
Sounds relevant, though I don't really get it..
This may help explain a little more...
http://www.youtube.com/watch?v=UYf4u-oEqhI
Basically sez the euro contingent have institutionalized bad records.
Just kidding. Eq curve = Basically the mastering lab cuts a certain
amount which is automatically boosted again by the phono input (hence
the separate inputs for record players. With the smaller groove width,
they had to
he is one of the main devs for max/msp/pluggo, so that takes up some of his
time. you'll see some new stuff soon
- Original Message -
From: Odeluga, Ken [EMAIL PROTECTED]
To: fab. [EMAIL PROTECTED]; 313@hyperreal.org
Sent: Tuesday, January 30, 2007 11:15 AM
Subject: RE: (313) kit
I think the almost epidemic concern about the state of today's
mastering
comes from the fact that we don't have a choice. You can't simply
say
'don't listen to it otherwise you would not listen to anything
produced in
the last decade. Sure, in your example you got the originals but for
Maybe we all need switchable phono stages.
On Jan 30, 2007, at 15:55, robin wrote:
I think the almost epidemic concern about the state of today's
mastering
comes from the fact that we don't have a choice. You can't
simply say
'don't listen to it otherwise you would not listen to anything
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