Whether a master is brickwall-able or not depends on the mix. Some dynamic mixes brick very well, some don't. Some non-dynamic mixes brick poorly, some don't.
Do I even make sense?
Do I even make sense?
Simply random stuff
- Thread starter GOS
- Start date
Help Support QuadraphonicQuad:
You do. The answer always is, "It depends." Isn't it?
But the term 'brickwalled' has gotten such a negative connotation that it is always considered bad even if it sounds pretty good.
Yeah some brickwalls sound excellent. But my opinion is that brickwalling is never needed.
"Well what about music that heavily relies on distortion?"
In my own experiments you can achieve those exact effects without brickwalls.
One of my friends used to complain because they removed some guitar distortion
Despite the high cost of living, it remains popular 
Shaky Town - Chicago
Hey I resemble that remark!I overheard this conversation at an assisted living facility ...."I don't always roll a joint, but when I do it's my ankle"
So about 9 and a half bucks total discount.
I've got too much to do and no motivation
I shouldn’t have made quite the sweeping generalization I did anout CBers being rebels. The Citizens’ Band service had and has value. But I’ve seen (and heard) it abused more than it was used as intended.
Not everyone needs to talk to someone halfway around the world. Most folks have no use for Morse Code.
Bear in the air - Police helicopter
Choke-n-puke - truck stop or coffee shop
I think the term “brickwall” can apply to two different parameters. Originally, I believe it was a very steep (almost vertical, like a brick wall) low pass filter to prevent aliasing in CDs. An added meaning is dynamic compression or limiting, intended to louden all the quiet parts of the recording without distorting the already loud parts.
Those original low pass filters had some artifacts that a lot of people could hear, and it gave CDs a bad reputation right out of the gate. I believe they have improved to the point that most people can’t tell they are there.
Dynamic compression is probably the main tool in the “loudness wars” we hear in a lot of headbanger releases. I think it’s useful in noisy environments, but it rarely makes music more enjoyable, IMNSHO.
And now to do so we have Skype, What's App and the like.
I know what you mean. But I was playing around with some live vocals over a commercial instrumental track and I found that I needed a a good bit of compression to make the vocals sound right. The instrumental track was in no way overly compressed, but the 'as recorded' vocal simply had too much dynamic range. @Mr. Afternoon , would you like to chime in on this?
Most of the modern communication methods depend on a remarkable infrastructure. Point-to-point radio can operate without any intervening connections. Anyone remember slow-scan TV? I could put a picture on a voice-grade channel, although it took several seconds to do so.
If the Internet went down (and some folks believe it’s quite fragile and hackable), we wouldn’t even have our old land-line phones any more in most places. Radio would be our only communications. Many ham clubs practice those scenarios.
I do not know how I could handle the peace and quiet of such a scenario. (Well, as long as the grandkids weren't over because then it would be a nightmare! )
In my eyes there's two types of dynamic control. One that tries to level things out without any clipping/artifacting, essentially acting as a gain control, and one that tries to maximize loudness or clip things or such. The former should be used on vocals.
Vocals are indeed too dynamic sometimes and need to be controlled.
Another slant on drummers is how many of the session guys played on your favorite records.
For example, this tidbit from that other forum we use~
Five with drummer Jim Gordon in 1974:
The Hues Corporation- “Rock The Boat”
Steely Dan- “Rikki Don’t Lose That Number”
Gordon Lightfoot- “Sundown”
John Denver- “Thank God I’m A Country Boy”
Frank Zappa- “Apostrophe’
He also was in Derek & the Dominoes, of course.
Saw him play with Zappa in '72 on the Petit Wazoo tour.
Wiki List:
During his career, Gordon played with a long list of musicians and record producers, including:
- The Beach Boys: Pet Sounds; Smiley Smile; Friends; 20/20
- Bread: Bread
- Joe Cocker: Mad Dogs & Englishmen
- Judy Collins: Who Knows Where the Time Goes
- Crosby, Stills & Nash: Crosby, Stills & Nash
- Derek and the Dominos: Layla and Other Assorted Love Songs; In Concert; Live at the Fillmore
- Donovan: Essence to Essence
- Dr. John: The Sun, Moon & Herbs
- Art Garfunkel: Angel Clare; Breakaway
- David Gates: First
- George Harrison: All Things Must Pass; Living in the Material World; Extra Texture (Read All About It)
- Dave Mason: Alone Together
- Randy Newman: Randy Newman; 12 Songs
- Harry Nilsson: Aerial Ballet; Skidoo (Soundtrack); Harry; Nilsson Schmilsson; Son of Dracula
- Tom Petty and the Heartbreakers: Tom Petty and the Heartbreakers; Playback
- Leon Russell: Leon Russell and the Shelter People
- Seals and Crofts: Seals & Crofts; Summer Breeze; Diamond Girl
- Carly Simon: No Secrets; Hotcakes; Playing Possum
- Steely Dan: Pretzel Logic; "Here at the Western World"
- B. W. Stevenson: Lead Free; My Maria; Calabasas
- Traffic: The Low Spark of High Heeled Boys
- Tom Waits: The Heart of Saturday Night
- Mason Williams: "Classical Gas"
Perhaps the best of the lot and likely the craziest of the lot. A tortured soul.
Similar threads
