![]() ![]() The remasters of the Pumpkins' actual albums have tended to be pretty dynamic - most of them are no lower than DR8.Siamese Dream and Mellon Collie and the Infinite Sadness also averted this trope upon their respective releases by being mastered with the intent of having a good amount of headroom left while the band's contemporaries were content to hammer the 0 line with each snare hit.They're plenty loud while preserving the dynamics and original mixes while being brighter. The 2011 remasters of The Smashing Pumpkins' Gish and Siamese Dream averted this.In fact, it has a message on the back saying to play it loudly.This may have something to do with the fact they've self-produced all their albums since 2005. The Seldom Seen Kid, along with most of Elbow's discography, has managed to roughly keep the volume at a reasonable level.The remastered version was much louder than the original, which was criticized on its release. The Cure's Disintegration mentions in its liner notes how it was mixed to be played loud and that one should start turning up the volume.This was most likely due to the influence of audiophile producer Ric Ocasek. Rivers Cuomo of Weezer once made the observation that Weezer's first record ( The Blue Album) was mixed low, so as to sound better when turned up through a stereo, and said that it "sounds like crap if you have it low".The sole exceptions are Byrne's last two albums before leaving the label even then, at DR9, they're still pretty high for post-1995 albums. They were responsible for the 2021 release of Promises by Floating Points and Pharaoh Sanders, which is one of the most dynamic and best-sounding of the year, at DR13. The Luaka Bop label, founded and formerly owned by David Byrne of Talking Heads, has a consistently dynamic mastering for its wide variety of releases, which include compilations of artists from Africa and Latin America as well as new albums in many different genres.His sound is very organic and neotraditional, which comes across in very natural-sounding recordings and has earned him a following from those turned off by excessively compressed mainstream country. Country producer Dave Cobb has some wonderfully mastered albums for the likes of Jason Isbell and Chris Stapleton.Considering that many of the songs needed a proper remaster, it's admirable just how good these sound. One of their earlier compilations, African Scream Contest, has a couple tracks that go as low as DR 7 (not bad, but still fairly loud), all their releases since buck the trend entirely. Record label Analog Africa, which focuses on releasing obscure music from Africa and South America (usually from the 70s and 80s) has almost completely avoided the loudness war.Alan Parsons released a whole video explaining the detriments of brickwalling and the importance of dynamic sound, as well as interviewing other engineers like Niko Bolas and Richard Dodd for their thoughts. ![]() This is probably in large part because he outright hates digital sound (for instance, he derided CDs as "the rich man's eight-track tape" when the format was becoming dominant). Most records produced by Steve Albini tend to avoid this.Colin Marston and Damian Herring's mastering jobs are almost always incredibly dynamic by modern metal standards, usually being around DR8-DR10.George Marino's work was, for the most part, anything but brickwalled.Any remaster by one of these, you're probably good. Steve Hoffman, Doug Sax, Vic Anesini, recent Bob Ludwig, and Kevin Gray are some of the best known. There are several engineers who outright refuse to brickwall anything they touch. ![]()
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