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Old 05-21-2021, 01:14 PM   #101
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I think the production is pretty lousy across big whiskey.

Especially why I am. They couldn’t have done that worse in the studio. Amazing, really.
Agree 100% I thing the production on AFTW is much better than BW.
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Old 05-21-2021, 01:24 PM   #102
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Agree 100% I thing the production on AFTW is much better than BW.
Anyone find the production on AFTW a little slick compared to the previous DMB-Lillywhite albums in the 90's? I know time changes but..
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Old 05-21-2021, 01:27 PM   #103
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AFTW is a much more cohesive album than BW imo.

Why I Am is a horrid studio cut. I dont think it sounds polished at all, and sounds weak.
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Old 05-21-2021, 01:46 PM   #104
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Anyone find the production on AFTW a little slick compared to the previous DMB-Lillywhite albums in the 90's? I know time changes but..
Yeah I get what you mean. I wish we had a copy of Steve's original mix and his approved master. He made a comment on twitter back in 2012 that he rejected the first master as it was overly compressed. I doubt he approved the master we have, he probably didn't even hear those redone mixes.
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Old 05-21-2021, 01:47 PM   #105
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AFTW is a much more cohesive album than BW imo.

Why I Am is a horrid studio cut. I dont think it sounds polished at all, and sounds weak.
Yep, completely lifeless.
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Old 05-21-2021, 01:56 PM   #106
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Yeah I get what you mean. I wish we had a copy of Steve's original mix and his approved master. He made a comment on twitter back in 2012 that he rejected the first master as it was overly compressed. I doubt he approved the master we have, he probably didn't even hear those redone mixes.
I'm not surprised by this. I believe even the OG albums were still mastered by somebody else and Steve didn't approve them, but could do nothing since it's a record label decision.

This is one thing I hate about the music industry today it's all about dynamic range compression and making things as loud as possible. Does the average listener really want this or would the buy the latest album from their favorite artist regardless? Maybe there is some psychology where louder music sells better?
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Old 05-21-2021, 01:58 PM   #107
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BW sounds exactly the way I would expect an album with a prominent electric guitar to sound. And I think the album as a whole captured the sound of the band relative to how they were playing live at the time. CT is clearly a compilation album hastily put together. But I don’t think AFTW is. AFTW drags a bit and is lifeless at times. Unfortunately it stood no chance of living up to fan expectations, that ship sailed long ago. So I’d say BW>AFTW>CT.
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Old 05-21-2021, 02:03 PM   #108
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Maybe there is some psychology where louder music sells better?
There used to be some truth to it, back when jukeboxes played actual 7 inch records. But these days? Completely unnecessary. And yet, the [Only registered users can see links.] are still a thing
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Old 05-21-2021, 02:07 PM   #109
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BW sounds exactly the way I would expect an album with a prominent electric guitar to sound. And I think the album as a whole captured the sound of the band relative to how they were playing live at the time. CT is clearly a compilation album hastily put together. But I don’t think AFTW is. AFTW drags a bit and is lifeless at times. Unfortunately it stood no chance of living up to fan expectations, that ship sailed long ago. So I’d say BW>AFTW>CT.
Agreed. All in all, imo, 3 pretty weak albums. Hard to believe the same band made BTCS.
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Old 05-21-2021, 03:21 PM   #110
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There used to be some truth to it, back when jukeboxes played actual 7 inch records. But these days? Completely unnecessary. And yet, the [Only registered users can see links.] are still a thing
At some level it's probably industry inertia at work. There is no reason to change so why change or the sake of change and just continue with loudness wars. If you go out on on limb and do something different and fail that's probably your job, so why take those chances?

The people in the studio know what labels want so they mix and master towards those expectations as a job well done and a means to get more jobs. It seems like the whole industry is built upon resisting the gamble on something different. Producers like Lillywhite may work more outside of label wants to create a DMB album, but there are probably a lot more producers that just want to make hits and get paid. Dave probably needs a Lillywhite style of producer to push him and to have a solid vision, somebody like John Mayer could probably make due with less pushing because he will find his own sound and make sure it meets his vision.

Even in the movie industry it seems no new movie ideas are coming out at any kind of pace It's just a series of remakes and the nth integration of the same charachresr in the same universe. I mean there are 10 Fast and Furious movies which seems crazy to me, but it must make money so they pump them out and people see it.
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Old 05-21-2021, 03:59 PM   #111
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At some level it's probably industry inertia at work. There is no reason to change so why change or the sake of change and just continue with loudness wars. If you go out on on limb and do something different and fail that's probably your job, so why take those chances?

The people in the studio know what labels want so they mix and master towards those expectations as a job well done and a means to get more jobs. It seems like the whole industry is built upon resisting the gamble on something different. Producers like Lillywhite may work more outside of label wants to create a DMB album, but there are probably a lot more producers that just want to make hits and get paid. Dave probably needs a Lillywhite style of producer to push him and to have a solid vision, somebody like John Mayer could probably make due with less pushing because he will find his own sound and make sure it meets his vision.

Even in the movie industry it seems no new movie ideas are coming out at any kind of pace It's just a series of remakes and the nth integration of the same charachresr in the same universe. I mean there are 10 Fast and Furious movies which seems crazy to me, but it must make money so they pump them out and people see it.
For a while I was very hopeful that HD music would be the perfect opportunity to resolve this issue. Several artists released completely different masters in HD formats, while the digital and CD copies were the typical highly compressed versions. My favorite example is Weezer's Everything Will Be Alright in the End. I bought HD flac files of that album and they sound AMAZING... the dynamic range is fantastic. I also bought the the standard mastering to compare it to. Completely obvious that it has the typical audio compression that has squashed the dynamic range.

There are other examples as well, like blu-ray versions of Tom Petty albums and such.

Sadly, I haven't seen examples of this recently, but maybe it's still happening somewhat and I just have been out of the loop.
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Old 05-21-2021, 07:48 PM   #112
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At some level it's probably industry inertia at work. There is no reason to change so why change or the sake of change and just continue with loudness wars. If you go out on on limb and do something different and fail that's probably your job, so why take those chances?

The people in the studio know what labels want so they mix and master towards those expectations as a job well done and a means to get more jobs. It seems like the whole industry is built upon resisting the gamble on something different. Producers like Lillywhite may work more outside of label wants to create a DMB album, but there are probably a lot more producers that just want to make hits and get paid. Dave probably needs a Lillywhite style of producer to push him and to have a solid vision, somebody like John Mayer could probably make due with less pushing because he will find his own sound and make sure it meets his vision.

Even in the movie industry it seems no new movie ideas are coming out at any kind of pace It's just a series of remakes and the nth integration of the same charachresr in the same universe. I mean there are 10 Fast and Furious movies which seems crazy to me, but it must make money so they pump them out and people see it.
Yep exactly. It sucks but it’s true. It’s all about money. And they’ve done studies that when things are louder, faster and compressed people like it and listen to it more. Is it better? Fuck no, but the human ear is drawn to it more because when it’s louder all the main frequencies we hear are “louder” and it stands out. Mastering has 0 to do with quality it is 100% driven by money and profit and that’s the god damn truth
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Old 05-22-2021, 08:54 AM   #113
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It would be nice if they dropped a single soon, but I doubt it. I really hope they don’t tie albums to tickets, like the did with the last album. Just drop the album on all streaming services out of the blue. Just like every other artist has been doing lately. However, Cap$haw is all about album sales. Btw, who the hell buys physical copies anymore?
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Old 05-22-2021, 09:28 AM   #114
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It would be nice if they dropped a single soon, but I doubt it. I really hope they don’t tie albums to tickets, like the did with the last album. Just drop the album on all streaming services out of the blue. Just like every other artist has been doing lately. However, Cap$haw is all about album sales. Btw, who the hell buys physical copies anymore?
I can’t remember where I read this, but apparently bands can’t for album sales to tickets anymore (as of a year or two ago).
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Old 05-22-2021, 11:19 AM   #115
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It would be nice if they dropped a single soon, but I doubt it. I really hope they don’t tie albums to tickets, like the did with the last album. Just drop the album on all streaming services out of the blue. Just like every other artist has been doing lately. However, Cap$haw is all about album sales. Btw, who the hell buys physical copies anymore?

You’d be surprised, a lot of people still buy physical copies, especially baby boomers and people over 45. So a large chunk of DMBs audience still does. That being said, I agree with you 100%
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Old 05-22-2021, 03:39 PM   #116
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I can’t remember where I read this, but apparently bands can’t for album sales to tickets anymore (as of a year or two ago).
Good. They’ll see how relevant they truly are.

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You’d be surprised, a lot of people still buy physical copies, especially baby boomers and people over 45. So a large chunk of DMBs audience still does. That being said, I agree with you 100%
I figured, like vinyls to the older generation, CD’s were that way with boomers, but had no idea there was still really a huge market for them. I don’t even own a CD player.

Whatever we want DMB to do, they seem to do the exact opposite. Never fails.
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Old 05-25-2021, 02:25 PM   #117
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[Only registered users can see links.]
Per the announcement, Billboard [Only registered users can see links.] “eliminate the practice of counting albums bundled with merchandise and concert tickets on its album and song charts altogether.”[...]
Now, albums “must be promoted as an add-on” to be purchased with merchandise or tickets, rather than available alongside merch or tickets for a single price “with the album cost undisclosed to the consumer.”

Billboard
will also no longer immediately count physical albums or singles when they are sold paired a digital copy of the same material; only when the physical item is manufactured and shipped will the purchase be added to the album’s chart count.
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Old 05-25-2021, 02:33 PM   #118
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It's fine if DMB's #1 streak comes to an end with their next album. It's long overdue, let's be honest. I hope the album is a success, but more than anything, I just hope it's good.
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Old 05-25-2021, 02:35 PM   #119
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It's fine if DMB's #1 streak comes to an end with their next album. It's long overdue, let's be honest. I hope the album is a success, but more than anything, I just hope it's good.
So I guess Coran can drop those ticket prices that were only elevated because they included the added value of an album, right?
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Old 05-25-2021, 02:53 PM   #120
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So I guess Coran can drop those ticket prices that were only elevated because they included the added value of an album, right?
What?
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