I've seen the other side of that were artists either don't care or don't trust their engineers enough to help them make the right decisions when it comes to sonics. I'm always impressed by the OVO camp's dedication to quality. That's what I'm hearing when I listen to Views anyway.Įnd of the day, I say mix it the way you want it to sound and have good communication with your mastering engineer about your intentions. I think making your record stand out is the primary objective these days and certainly maintaining a healthy bottom end in leu of overwhelming loudness is one way to do that. Kendrick's TPAB for sure) and thats a great thing.
I've been hearing albums here and there that have seemingly rejected loudness for punch and detail (Drakes being one of them. Glad to hear ppl enjoy it, especially sonically.
#DRAKE VIEWS FULL ALBUM LISTEN MAC#
Anyway, thanks for mentioning the Mac album. I'm confident in my abilities but I firmly believe being too close to the inner workings of a song ensures you will never get the chance to hear it the way other ppl do. I mostly just hear all the things I hate and wish I'd done differently when I listen to projects I've worked on after they're released. Its always funny to hear ppl give you accolades on mixing as a mixer. Similar to how McDonalds is perfectly fine, until you understand their farming and factory production process - then you eat a well prepared 100% Beef burger at a restaurant. Some don't care because they also don't know, and have little point of reference on the matter. Either way we as artists/engineers and fans then have to deal with compromised music.
Except in this scenario, rather than artists, and producers pushing the volume for sake of competition, the music outlets would be the driving force. The sales would be steady or increase for the louder outlet, and soon enough the quiet outlet would be forced to compete and match the volume.aka loudness wars. If the listeners/fans hear a track on iTunes that's quiet, and then hear it on Spotify as loud, they will obviously consider the quiet one inferior. The biggest issue is that the entire industry or at least the strongest outlets would have to essentially adopt a standard and implement it almost at the same time. By going in the opposite direction.just a little bit, I think we can bring back some dynamics and still have a fairly loud sound. That's a necessary evil in today's market and has been since 2001. wav forms and are willing to scrutinize dynamics, its likely that there were large compromises made. Just anecdotal evidenceNot saying that Millers album wasn't done well. I haven't thrown it in an RMS meter or anything to judge if what I'm hearing is even true. But Mac's album is one of the best mixed and mastered albums in the last year imo. Volume has been long overdone and has hurt the mixes (crushed, distorted, no dynamics) which is crazy when you consider the fact that.there's a volume knob on your device already.Fair. So its smart to put together an appropriately volumed mix, rather than hope when their computers effect it, that it comes out sounding ok. Tracks that are too loud will be compressed, instead of the prior method of turning quiet track up. Many of the download/stream sites like iTunes have stated that they are using technology to normalize tracks. The top engineers are starting to reduce compression/volume.
I found.another thread already covering the topic wow they are so innovative here at gear slutz, implementing a search button wheeeew
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