Tip jar

If you like CaB and wish to support it, you can use PayPal or KoFi. Thank you, and I hope you continue to enjoy the site - Neil.

Buy Me a Coffee at ko-fi.com

Support CaB

Recent

Welcome to Cook'd and Bomb'd. Please login or sign up.

March 29, 2024, 12:45:42 PM

Login with username, password and session length

[Radio 4] The Cult of Aphex Twin

Started by Sebastian Cobb, July 06, 2018, 09:38:43 AM

Previous topic - Next topic

Sebastian Cobb

Quote from: a duncandisorderly on July 08, 2018, 05:27:42 AM
no, not loudness-war-style soft comp-limiting or even digital clipping- this was actual analogue distortion... analogue clipping... like when you overdrive a pre-amp, & in the instance I'm referring to, it was on a sound & in a part of the record where it sounded wrong & stood out like a sore cock. I should add that I've worked in audio since the late 70s & my own contribution to the loudness-wars was tweaking up the db-max units on the Mtv europe channels so that (to paraphrase the late great ian kilmister) everything was louder than everything else.

I hate CD remasters, & new stuff on CD gives me listener fatigue after mere minutes.

the context is important- compression like orban's optimod or TC's db-max are used by broadcasters for all sorts of reasons- to maximise impact & audibility, especially if the sound is being heard by listeners with a high level of ambient noise (factory, car, whatever) & if the content is of variable provenance & needs levelling, but manual control is difficult &/or expensive*. but on things that you've bought & paid for, & are intending to listen to on your hifi & without anything else making a noise (except perhaps the gentle fizz of your lager, the wife putting the kettle on, a stray seed popping in the spliff...) the dynamic range can & should be as the artists intended.

(*I tried, &- clearly- failed to get my own employers & other broadcasters to use the scheduling & playout automation systems to actively control loudness based on metadata held against each playlist item. thus, a movie would have a 'map' of loud & quiet bits, & the playout automation would anticipate, based on these, & not wake anyone up by playing a daftly loud commercial during a break in a quiet bit of the movie, say. I was at a lot of the industry-wide meetings that resulted in the CALM thing for tv commercials too.)

Well yeah, there's a reason radio stations that are commonly played through transit speakers and small transistor radios use heavy compression, but radio 3 doesn't.

I read somewhere that both youtube and spotify now apply a dr limiter to everything, so if you compress something all you're doing is slicing the peaks off. It will sound no louder.

the

Quote from: a duncandisorderly on July 08, 2018, 12:52:09 AMI'd have to dig out the CD, but the stuff I mean is very subtle glitchy stuff, or odd bits of clipping (distortion) which I initially thought were just carelessness. they're just enough to keep you from getting too comfortable during a listen. make you think the CD's a bit fucked, sort of thing.

There's definitely a fair bit of clipping on the Richard D. James Album. Almost certainly a mistake introduced at some point during recording/output.

Quote from: Sebastian Cobb on July 08, 2018, 12:55:30 PM
Orbital's Chime Live was like that. They actually ran the cassette master into a DAT when taking it to record companies so as to look more professional.

Thery recorded it on to a top end chrome cassette For the OG Oh-Zone release I think after plaything it to Jazzy M in Vinyl Zone - the remix below on FFRR was an attempt at recreating that version in a proper studio setting and recorded on to DAT, but didn't capture the magic so FFRR pressed it from the original cassette too.


Avril Lavigne

Quote from: Sebastian Cobb on July 06, 2018, 08:12:11 PM
Didn't realise a lot of fans didn't like Drukqs, I always thought it was brilliant.

I remember being a little bit disappointed in it, but only because it was meant to be his first 'proper' follow-up to 'Richard D. James Album' which was and still is my favourite of his releases.  I enjoyed most of Drukqs enough to say it was worth buying, but I never played any of the tracks on repeat like I did with things like Yellow Calx and 4.

Sebastian Cobb

Quote from: Better Midlands on July 08, 2018, 02:10:25 PM
Thery recorded it on to a top end chrome cassette For the OG Oh-Zone release I think after plaything it to Jazzy M in Vinyl Zone - the remix below on FFRR was an attempt at recreating that version in a proper studio setting and recorded on to DAT, but didn't capture the magic so FFRR pressed it from the original cassette too.



I think they said it's a few bpm faster than it was supposed to be because their dad's tape deck ran a little slow.

Have you seen some of the releases on 'awesome tapes from Africa?' so good.