one of my pet peeves. It makes the tunes sound shitty when there's no air muthafucka!

'if it's too loud, you're too old'

YEEAH! ::Joins hetfield club with brian and moe::

http://en.wikipedia.org/wiki/Loudness_war

Yeah, what he said.

While quieter productions in general sound better it becomes a huge problem when every other production out there is ten times as loud. So right after you have your volume pretty high to hear what's going on during Quiet's production you put it on Loud's production and suddenly your ears have gone to kingdom come. I fucking hate having to change the volume from album to album.

I agree wholeheartedly. It's this whole "louder = better" MTV generation. They want it so that when they hear something on the radio, it's "bumpin" right away. People have forgotten that to make music louder, all you have to do is turn up the volume control. And mastering engineers have forgotten that their job is to give the music a little bit of subtle professional sparkle, not slam it into a limiter so much that the snare and kick hits don't even make the meters jump.

this is true.... i hate when a song come on and its super loud when the last one was quite.
i also hate the bass boosts now a days that every rock/metal/rap group does. to get it 'bumpin'

the same thing goes with the tv the commercials are always louder!
someone should pass a law about that one.

Have you heard any tracks that didn't bump? You know why? Because they're not worth listening to. If ain't got no bump I won't do a fat chick in the ass.

true some songs have a well placed bump... but it doesn't need to be overdone.

there is tasteful bump, then there is "fuck, I wanna sue Metal Blade for blowing out the speakers in my piece of shit car" bump.

Subdrops are awesome dont deny it

I remember being very pissed at clitorture for mastering their full length so low, I made a mix of it and their demo material on the same cdr (cause I like the raw quality of the demo) and every other song I had to adjust the volume

I have always had shitty stereo equipment though, whether it be in my car or at my house so louder recordings means louder pumpage

I think some of Behemoth's records are way too loud. The other day I was listening to Sodom's Persecution Mania and put in Behemoth and it made me go deaf for a few..

Dumbing down is the American way.

:cough: convergejanedoepushedthelimits :cough:

I think it also has to do with how these labels feel the need to market the music. The rule of thumb for TV and radio ads is to make them louder than the shows so that the ad gets heard. I think the labels are trying to apply this to their product. The louder you make the mix, the more chance someone will hear it when they're listening to the radio. I think this has something to do with it.

PLAY AT ELEVEN.

I'm still waiting for the day a drummer uses sub drop samples from his bass drum triggers

you can stop waiting, clitorture did that years ago... they dont have a bassist though

must hear

yeah ultra-loud production isn't all that great. i love quiet production like Darkthrone's Total Death or Bathory's Blood Fire Death. thats one thing i feel detracts from Deathspell Omega. the production is way too loud so everything gets muddy. i know its supposed to have a vile sound, but turn it down. though the intro to SMRC is fucking evil as all Hell.

That's the first thing I thought of too.

I fucking hate quiet production. Overblown production is fucking awesome, only if done right. If a CD sounds shitty at any given volume, the mix isn't perfect. The more powerful the CD is without sacrificing quality, the better. Goddammit.

i find that most of the shit ken susi does is mixed and mastered way too loud...like everything is just chilling in the red or something

you have NOT filed the correct paper work...when you do we can talk...

OHHHHHHHHHHHHHHHH SHITTTTTTTTT

Might not actually be in the red. Limiters can prevent that. However, the mix can still be too loud, even with the limiter, and thus not really be louder but distorted. I've done it on one song I did, on purpose, at the end. Faded in the ending x4 or 5 with a hard limiter. It made it not necessarily louder, but it got progressively more fuzzy until it was a wall of distortion.

I have the new Demon Burger record on my iPod, and it's just riduculously loud compared to EVERYTHING ELSE on there. But then, they've had that problem for the last 3 records.

Must be clipped to hell. A lot of producers these days are clipping the mix for a more live sound, but it's easy to take it too far.

Pig Destroyer's cds are usually way loud, especially Prowler, but it works for them I think

I have a weird one: Gospel - The Moon Is A Dead World. That record is ridiculously loud compared to everything else on my iPOd, but that might just be the rip I have.

Let me break down "loud production" from an engineering standpoint. Ideally when you look at the soundwave of a song, it has little ups and downs where the beat is. The loudest points, after mastering are at digital zero. Enter the limiter. What this little puppy does is it keeps the peak at digital zero, and pushes the rest of the soundwave against it, think of it as a sonic brick wall. Those little pulses where the beat is are now gone and the song is squished into a solid bar all the way through. it's a distorted wall of noise with zero dynamic range and it sounds like shit. The peak volume of quiet production and loud production are the same, the only difference is that the loud one stays there the whole time.

one of the few that i think a loud production enhances, especially that album. one album i love that has a fairly quiet production, but sounds incredible when turned up to 11 is Satyricon's Rebel Extravaganza.

I agree that even death metal needs air.
I also like the punch in the face that Dimmu/Pig destroyer/ Dying Fetus mastering delivers though.

If it means I have to move my arm 16 inches to tweak a volume knob, so fucking be it.

Good example is Meshuggah. They have a good mix of Loud/quiet in their songs, that really draw you in when a clean riff plays, then SLAM, right back in the shit.
This wouldnt work if it was mastered at full blast.

PLEASE SUPPORT ENDING THE LOUDNESS WAR!!!!!!!!!!!!!!!!!!!!

in broadcast, compression/limiting is crucial for maximising the signals effectiveness in the fringes of a stations radius
it can be overdone though

what??? what are you pussies doing in metal? just turn your stereo off allready, fuck.

If you use a clipper to shave off the peaks (NOT LIMITING) you keep the dynamic punch and feel without squashing the recording into oblivion with too much compression/limiting. Engineers that use clipping to their advantage (ie. Hypocrisy) *with* heavy limiting don't sacrifice the precious dynamics that soft recording fags crave. If you ONLY use limiters then it's going to make everything louder