|
Post by tasteliketape on Jun 19, 2019 8:12:21 GMT -6
First off I get compression is a useful tool , but with all the reissue hardware and plugins lately I started thinking maybe in this day they are way overused. So what albums are there that no compression was used? I thought I read of a Neal Young old album with no compression, but I can’t find the link . Any others ?
|
|
|
Post by popmann on Jun 19, 2019 8:50:25 GMT -6
Vanessa Fernandez. Probaba anything--at least that sounds like a band playing. She's a darling of some audiophile label. I bought the album of old soul tunes....I think I saw she has a whole record of Zep tunes....but, don't expect them to have electric guitar--that was my issue with the one I bought--it's not an audiophile recording of that kind of material--it's ALSO requiring a certain acoustic sound set that is unbecoming of both soul and Zep, IMO.
|
|
|
Post by spindrift on Jun 19, 2019 8:55:55 GMT -6
Janis Ian’s “Breaking Silence” is a no compression, limiting or EQ release. Jeff Balding as P/E/M
I was wrong, no Vocal limiting on that album......my memory failed me.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 19, 2019 9:04:18 GMT -6
Loads of classic 50's, 60's and 70's albums, no? Would love to know if/what gear was used on Crosby's debut solo 'If I Could Only Remember My Name'.
|
|
|
Post by Blackdawg on Jun 19, 2019 9:33:08 GMT -6
Loads of classic 50's, 60's and 70's albums, no? Would love to know if/what gear was used on Crosby's debut solo 'If I Could Only Remember My Name'. No way. Lots of compression used back then, maybe not in the 50s, but there was some tube compression happening in the 60s and lots in the 70s. OP. Practically every classical album out there has little to no compression these days. Microphones, mic preamps, and ADC's have gotten so good that you can showcase the full dynamic range very easily. Just be warned that it can be like a 30dB volume swing haha lots of dynamic range!
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 19, 2019 10:23:52 GMT -6
I know there were a few used from reading Recording The Beatles, but there seems to have been far fewer than there are these days.
|
|
|
Post by Blackdawg on Jun 19, 2019 10:46:06 GMT -6
I know there were a few used from reading Recording The Beatles, but there seems to have been far fewer than there are these days. oh yeah compared to today it was nothing. One could argue that through the use of tape there was lots of tape compression happening..but the SN ratios they had to deal with back then sucked so it was a constant battle of compromise for everything.
|
|
|
Post by MorEQsThanAnswers on Jun 19, 2019 10:51:21 GMT -6
I recall MixedByAli saying that he doesn't compress Kendrick's vocal at all. It's all automation done on a mono Auratone
|
|
|
Post by adamjbrass on Jun 19, 2019 11:54:16 GMT -6
I recall MixedByAli saying that he doesn't compress Kendrick's vocal at all. It's all automation done on a mono Auratone They must have made up for that by squashing the master into a worm
|
|
|
Post by iamasound on Jun 19, 2019 12:07:54 GMT -6
Janis Ian’s “Breaking Silence” is a no compression, limiting or EQ release. Jeff Balding as P/E/M I believe that it was just on her vocal tracks that there was no compression, limiting or eq, at least on the way in. All tracks were recorded at Nightingale Studio on a Studer 820, 24-track machine, 30 IPS, non-dolby, at the elevation of +6/250 nu using Ampex 499 tape. Included among the mics used on the recording dates were: Nuemann M-49, AKG C-12, Telefunken 251, Sheffield C-9 and a custom built tube direct box on the bass. Janis' vocal was recorded using a Telefunken U-47 and a Mastering Lab mic preamp, linked with series-one Monster Cable direct to the back of the multi-track machine with no EQ or Limiting.
|
|
|
Post by EmRR on Jun 19, 2019 13:09:44 GMT -6
Janis Ian’s “Breaking Silence” is a no compression, limiting or EQ release. Jeff Balding as P/E/M I believe that it was just on her vocal tracks that there was no compression, limiting or eq, at least on the way in. All tracks were recorded at Nightingale Studio on a Studer 820, 24-track machine, 30 IPS, non-dolby, at the elevation of +6/250 nu using Ampex 499 tape. Included among the mics used on the recording dates were: Nuemann M-49, AKG C-12, Telefunken 251, Sheffield C-9 and a custom built tube direct box on the bass. Janis' vocal was recorded using a Telefunken U-47 and a Mastering Lab mic preamp, linked with series-one Monster Cable direct to the back of the multi-track machine with no EQ or Limiting. The drums sound limited to me.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 19, 2019 14:23:53 GMT -6
Isn't the whole point of this thread, well, pointless? Shouldn't music be judged subjectively on whether it sounds good or bad to the listener, whether it moves them emotionally (or not?). Not by what gear was used in its production? I don't really care if the drums sound limited or compressed, or not, (no snark at you EmRR, respect you a lot), as long as the song moves me in some way when I hear it. This whole focus on production vs. emotion, is a real problem, for me, in today's music.
Why did you get into music in the first place?
|
|
|
Post by Bob Olhsson on Jun 19, 2019 14:32:06 GMT -6
Lionel Ritchie's "Can't Slow Down" album used zero compression in tracking or mixing although the mix was automated. It was recorded on a Studer A-800 with DBX noise reduction. DBX actually sounds good on a Studer.
|
|
|
Post by Tbone81 on Jun 19, 2019 14:34:42 GMT -6
Isn't the whole point of this thread, well, pointless? Shouldn't music be judged subjectively on whether it sounds good or bad to the listener, whether it moves them emotionally (or not?). Not by what gear was used in its production? I don't really care if the drums sound limited or compressed, or not, (no snark at you EmRR, respect you a lot), as long as the song moves me in some way when I hear it. This whole focus on production vs. emotion, is a real problem, for me, in today's music. Why did you get into music in the first place? Well...um...this is a gear forum. Should we not be talking about the gear used in famous productions?
|
|
|
Post by iamasound on Jun 19, 2019 15:00:33 GMT -6
The drums sound limited to me. That's exactly why I did a bit of Sherlock on the matter.
|
|
|
Post by donr on Jun 19, 2019 15:34:18 GMT -6
So, as an exercise, can anyone here take a cut on Janis Ian's "Breaking Silence" and bring it up to -6dB? [donr running and ducking]
BTW, that Bruno Mars 24k cut in the reference thread sounds great, but it's loud as balls. No need to turn that up no matter where you'd listen to it. Down if anything. It's never too soft.
|
|
|
Post by EmRR on Jun 19, 2019 15:48:46 GMT -6
I don't recall which track, but I was looking at a Bruno Mars song that had variable headroom, for lack of a better term. It all looked limited, but some sections were lower peak than others, and there was an overall volume ramp on the entire track, getting slightly and progressively louder.
|
|
|
Post by donr on Jun 19, 2019 16:43:39 GMT -6
I originally listened to that Bruno Mars on the laptop, sounded like it couldn't get any louder, then I went out to the studio and listened there. It wasn't too loud to listen to, and the bottom seemed just about perfect for pop. Maybe it's just a great mix/master. Made me want to listen on the monitors. It was "Chunky" off of 24k.
|
|
|
Post by spindrift on Jun 19, 2019 16:44:33 GMT -6
The drums sound limited to me. That's exactly why I did a bit of Sherlock on the matter. My memory is failing me. I went and re-looked at the liner notes and indeed, it said only that VOCAL limiting was not used. Sorry for speaking mis-info. I have corrected my post above.
|
|
|
Post by jampa on Jun 19, 2019 16:58:04 GMT -6
Harry James - King James version
I believe it was a C24 direct to lacquer?
|
|
|
Post by popmann on Jun 19, 2019 18:43:54 GMT -6
Aforementioned
|
|
|
Post by tasteliketape on Jun 19, 2019 18:46:49 GMT -6
My point to this thread was not to judge anything. I just thought it would be interesting to know what was out there .
And it also sparked some conversation . Isn’t that the point of these forums.
|
|
|
Post by Blackdawg on Jun 19, 2019 19:58:55 GMT -6
I don't recall which track, but I was looking at a Bruno Mars song that had variable headroom, for lack of a better term. It all looked limited, but some sections were lower peak than others, and there was an overall volume ramp on the entire track, getting slightly and progressively louder. Glass Animals Zaba album is one of the coolest dynamic albums I think in the last 10 years. Such great depth too. But it has tracks where literally every chorus progresses louder. Super cool
|
|
|
Post by EmRR on Jun 19, 2019 20:06:46 GMT -6
I don't recall which track, but I was looking at a Bruno Mars song that had variable headroom, for lack of a better term. It all looked limited, but some sections were lower peak than others, and there was an overall volume ramp on the entire track, getting slightly and progressively louder. Glass Animals Zaba album is one of the coolest dynamic albums I think in the last 10 years. Such great depth too. But it has tracks where literally every chorus progresses louder. Super cool I'm quite fond of PJ Harvey Let England Shake, lots of mix dynamics and it appears unlimited with a good amount of headroom, but it sounds like there's lots of individual track compression. Definitely not 'uncompressed'.
|
|
|
Post by donr on Jun 19, 2019 21:03:59 GMT -6
Harry James - King James version I believe it was a C24 direct to lacquer? I have that record, in a box in storage. : ) Some other Doug Sax direct to disk, and some early Telarc digital stuff.
|
|