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doitywoik
OK, finally made it to listen to the song on proper headphones and now it sounds better – but also worse. The track is full of clippings, very incompetent production job! Brickwalled to the max and beyond … all the crackling and clicks you can hear almost constantly are not some futuristic percussion effects but simply cut-off wave forms. It's appalling to hear (and see) such a thing in a puportedly professional production! This wouldn't even happen to amateurs. Whoever in their team is responsible for this should immediately be fired – no, wait, what if it was Mick himself … LOL
Here's a screenshot from WaveLab, shortly after three seconds into the song. No matter where you look into the file you find such clippings. The file is the official .wav file I bought from qobuz.com. They charged me 2 EUR for this. I should ask my money back.
As for Mick's voice, I don't really hear a vocoder. His lead vocals are often doubled unisono an octave down. Whether by himself or someone else I can't tell (and I'm not eager to find out).
Here are some vocoder examples. The first one is from a 1965 German SciFi series, the countdown starting at ca. 9". My first time to hear a vocoded voice (when I saw the replay in 1967): [youtu.be] , a demo: [www.youtube.com] , a fun one: [www.youtube.com] , and Kraftwerk used vocoders constantly: [www.youtube.com] [www.youtube.com]
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doitywoik
This doesn't have to do with the fashion it was created. It simply sounds awful and it could have been avoided. I'll return to listen to it over the laptop speakers.
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northof49
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Blah, blah,blah. You techno-nerds sure know how to suck the life out of what is a pretty good Stones song. By the time you get to page 100 of this thread all you'll be hearing are 0's and 1's. You really need to get a hobby other than hanging around here, virus or no. Wake up and smell the #%&*%# roses!
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Hairball
Interesting to hear someone else's perspective even if it goes against my own opinion (I love the tune), especially when you lay out all the technical stuff like that doitywoik.
That chart all looks like a foreign language to me, but does it tell you anything about Charlie's drumming being tampered with? I think the term was "quantized"...
As for Mick's vocals, you say you don't really hear a vocoder,but Ian mentioned it was a Melodyne which someone else said is a fancy word for vocoder.
Personally I don't hear a vocoder at all, but still think there's some sort of minor effect used in a couple spots, and more than just a doubling of his vocals.
It has the curvy/bendy effect going on to my ears, but you think that was done by doubling Micks vocals? Or maybe Mick's vocals being blended with Matt Clifford's?
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doitywoik
OK, finally made it to listen to the song on proper headphones and now it sounds better – but also worse. The track is full of clippings, very incompetent production job! Brickwalled to the max and beyond … all the crackling and clicks you can hear almost constantly are not some futuristic percussion effects but simply cut-off wave forms. It's appalling to hear (and see) such a thing in a puportedly professional production! This wouldn't even happen to amateurs. Whoever in their team is responsible for this should immediately be fired – no, wait, what if it was Mick himself … LOL
Here's a screenshot from WaveLab, shortly after three seconds into the song. No matter where you look into the file you find such clippings. The file is the official .wav file I bought from qobuz.com. They charged me 2 EUR for this. I should ask my money back.
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northof49
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Blah, blah,blah. You techno-nerds sure know how to suck the life out of what is a pretty good Stones song. By the time you get to page 100 of this thread all you'll be hearing are 0's and 1's. You really need to get a hobby other than hanging around here, virus or no. Wake up and smell the #%&*%# roses!
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doitywoik
As for Mick's voice, I don't really hear a vocoder. His lead vocals are often doubled unisono an octave down. Whether by himself or someone else I can't tell (and I'm not eager to find out).
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DandelionPowderman
If there are such vast differences in volume, how can compression be the main problem?
To me, the dynamics seem fine on Living In A Ghost Town. Compared with lots of other new singles our boys have done well with the production. It takes us on a sonic journey, with highs and lows, and sterility and general, monotonous loudness is NOT a problem.
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DoxaQuote
DandelionPowderman
If there are such vast differences in volume, how can compression be the main problem?
To me, the dynamics seem fine on Living In A Ghost Town. Compared with lots of other new singles our boys have done well with the production. It takes us on a sonic journey, with highs and lows, and sterility and general, monotonous loudness is NOT a problem.
I don't know, man... Like I said this this is totally theoretical problem for me, since all my ears say is exactly the same as yours do. Generally when I have a 'hearing issue' with compression that it that bloody monotoneus loudness that has no sonical dynamics and depth. This track has not that problem at all. The way I interpret what doitywoik says with 'cracklings' and 'clicks', supported by the graphics, is that the track constantly hits those 'over-the-top' or distorted moments, probably when there is there is more 'thicker' musical flow or peak going on. Those moments 'suffer' by over-compression because the rest of the stuff is emphasizied by 'normal-sounding' compression. I guess the effect is similar like what you said of the acoustic guitar of "Wild Horses", or like terry said of the odd sound of Keith's acoustic guitar in "Street Fighting Man" based on, if we are to be honest, nothing but a technical shortage of cassette recorder (bloody hell, the whole idea electric guitars sounding 'distorted' derives from the guys playing the shit out of the amps...)
- Doxa
What fine dynamics are you talking about for LIAGT?Quote
DandelionPowderman
If there are such vast differences in volume, how can compression be the main problem?
To me, the dynamics seem fine on Living In A Ghost Town. Compared with lots of other new singles our boys have done well with the production. It takes us on a sonic journey, with highs and lows, and sterility and general, monotonous loudness is NOT a problem.
New version of HONK (2020) came with regular LIAGT - 4.07. At least the one that is distributed by highresaudio.comQuote
GasLightStreet
Has anyone seen the edit version for sale? I'll probably convert it from YouTube at some point so I can have both versions.
Would've figured the version on HONK would be the edit considering how many songs are edit versions but it's the LP version.