tfarney
1000+ Head-Fier
- Joined
- Feb 8, 2008
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While some folks don't seem to think my system is resolving enough to detect the subtle differences between electronic components (and they are probably right) it is quite resolving enough to bring the not-so-subtle and often annoying differences between mastering techniques into sharp focus. To that end, I've been working on my own set of eq pre-sets in iTunes (I know...not bit perfect. I'm ok with that as the stuff I'm using it on was quite a bit less perfect, in my view, before I started messing with it).
I have given them (my pre-sets) intuitive names like "de-veil," "de-mud," "anti-glare," and "anti-glare light."
Springsteen's recent work is all over the freakin' place. The Rising needs "de-mud." In fact, "de-mud" was created for it. We Shall Overcome needs "anti-glare light," as "anti-glare brings it down a bit far, though still, sometimes, as songs build, I find myself turning them down or just turning down the treble. Magic is just awful. At the very least, it needs full "anti-glare" and it's still too freaking loud and nasty for headphones. It gets played in the car. Pity. Some great songs are in there underneath all of that edgy, nastiness. But if you go back to earlier Bruce works, Tunnel of Love comes to mind, no eq is called for at all; it is just smooth and warm and dynamic and lovely.
How is it that an artist of such talent and integrity can seemingly care not a lick about the final sound of his work, just turning it over to the tin ears of whatever mastering engineer sold out to the big label belief that louder is better that his producer picks, resulting in such an uneven product?
I love Springsteen's work. I wish he was paying as much attention to it as Knopfler, or even Van Morrison. Or maybe it's just the result of decades of those long aerobic stage shows. Maybe Bruce just can't hear any more.
Rant complete.
Tim
I have given them (my pre-sets) intuitive names like "de-veil," "de-mud," "anti-glare," and "anti-glare light."
Springsteen's recent work is all over the freakin' place. The Rising needs "de-mud." In fact, "de-mud" was created for it. We Shall Overcome needs "anti-glare light," as "anti-glare brings it down a bit far, though still, sometimes, as songs build, I find myself turning them down or just turning down the treble. Magic is just awful. At the very least, it needs full "anti-glare" and it's still too freaking loud and nasty for headphones. It gets played in the car. Pity. Some great songs are in there underneath all of that edgy, nastiness. But if you go back to earlier Bruce works, Tunnel of Love comes to mind, no eq is called for at all; it is just smooth and warm and dynamic and lovely.
How is it that an artist of such talent and integrity can seemingly care not a lick about the final sound of his work, just turning it over to the tin ears of whatever mastering engineer sold out to the big label belief that louder is better that his producer picks, resulting in such an uneven product?
I love Springsteen's work. I wish he was paying as much attention to it as Knopfler, or even Van Morrison. Or maybe it's just the result of decades of those long aerobic stage shows. Maybe Bruce just can't hear any more.
Rant complete.
Tim