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The Big Reveal 4/13/2014


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#141 SnkZato1 Ph.D.

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Posted 16 April 2014 - 04:36 AM

 

 

 

the only other Mars Volta album I could think to remaster would be Amputechture for sure.

Jon Theodore was way too quiet on amp.

 

a remaster wouldn't fix that. you're thinking of a remix.

amp is mastered fine. only album not mastered well is noct

 

 

What is exactly the difference? I understand the mixing process involves changing the volumes and how predominant each instrument or sound is, am I right?

What is mastering then?

 

I may be wrong, but my understanding is

 

Mixing is assembling the parts to form the whole track and all that is involved there

 

Master is tweaking the whole track itself.

 

In this day and age mastering means compressing the living fuck out of everything so it sound SUPER LOUDDDDDD



#142 jrcjoseph

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Posted 16 April 2014 - 04:54 AM

my body is ready



#143 jrcjoseph

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Posted 16 April 2014 - 05:07 AM

OMG



#144 nembutals

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Posted 16 April 2014 - 05:24 AM

 

 

Much as I hate to admit it. The last gig wasn't particularly enjoyable. Terrible crowd, the sound left a lot to be desired, and if I'm being completely honest the band had run the set list into the ground by that point and it just seemed to trundle along. In comparison they were great at Hard Rock Calling a couple of days before, the sound seemed a lot better (at least from where I was standing) and I think the shorter set worked better for them (no Widow as I recall). The SXSW sets on the other hand, now they were a whole different ball game.

Crowd was awful but it was the best I'd seen them play in years. Deantoni brought a lot of energy back that had been missing. That In Absentia was amazing and yet that was the point where most of the crowd checked out of the show. Was a lot easier to enjoy after loads of people left.

See yeah I always got that vibe from the last tour whenever I saw videos that they looked bored out of their minds playing old stuff and were clearly a bit frustrated that they weren't seeing as much success in this new era where they played almost exclusively new stuff. D was alright for the nocto stuff but I hated what he did with the oldies totally took the swing out of em and made them very robotic and rigid to my ears. Plus mellow Goliath has nothing on heavy upbeat Goliath as we were used to hearing in the past....that riff needs to blare loudly not hang our mellow like...

Glad they're back together and happy, it's cool to see they're moving on with new material

 

 

The footage I saw from those last few shows absolutely paled in comparison to their 2011 SXSW & summer dates. In those early gigs supporting Noctourniquet they seemed totally refreshed, Cedric had cut his hair and was resurrecting his old ATDI stage presence, doing scissor kicks and going apeshit while killing it on the vocals. Omar was getting his dance on and rocking out when I saw them open for SG. The energy was palpable. That Emo's Annex set was so intense!

 

Some of those last dates though, the Israel gig and HMV Forum especially... Cedric just suddenly looked frumpy and out of shape and sounded very subpar compared to how he was performing before, and Omar seemed like he was passing away from boredom onstage. I heard a bunch of praise for the live version of In Absentia from that show but I thought it sounded terrible. I just didn't follow where Deantoni was going with the drums, Cedric's falsettos during some of those parts were yuck, and overall it just came out messy and sludgy.

 

Deantoni's contributions as a live drummer were an interesting experiment for Omar & Cedric and I can see where some of his strengths came into play on the synth & digital percussion centric album material, but I think Dave Elitch excited me more behind the kit and so I'm pumped to see him recording some music with them now.



#145 DivideTheMinus

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Posted 16 April 2014 - 12:08 PM


Much as I hate to admit it. The last gig wasn't particularly enjoyable. Terrible crowd, the sound left a lot to be desired, and if I'm being completely honest the band had run the set list into the ground by that point and it just seemed to trundle along. In comparison they were great at Hard Rock Calling a couple of days before, the sound seemed a lot better (at least from where I was standing) and I think the shorter set worked better for them (no Widow as I recall). The SXSW sets on the other hand, now they were a whole different ball game.

Crowd was awful but it was the best I'd seen them play in years. Deantoni brought a lot of energy back that had been missing. That In Absentia was amazing and yet that was the point where most of the crowd checked out of the show. Was a lot easier to enjoy after loads of people left.

See yeah I always got that vibe from the last tour whenever I saw videos that they looked bored out of their minds playing old stuff and were clearly a bit frustrated that they weren't seeing as much success in this new era where they played almost exclusively new stuff. D was alright for the nocto stuff but I hated what he did with the oldies totally took the swing out of em and made them very robotic and rigid to my ears. Plus mellow Goliath has nothing on heavy upbeat Goliath as we were used to hearing in the past....that riff needs to blare loudly not hang our mellow like...

Glad they're back together and happy, it's cool to see they're moving on with new material
The footage I saw from those last few shows absolutely paled in comparison to their 2011 SXSW & summer dates. In those early gigs supporting Noctourniquet they seemed totally refreshed, Cedric had cut his hair and was resurrecting his old ATDI stage presence, doing scissor kicks and going apeshit while killing it on the vocals. Omar was getting his dance on and rocking out when I saw them open for SG. The energy was palpable. That Emo's Annex set was so intense!

Some of those last dates though, the Israel gig and HMV Forum especially... Cedric just suddenly looked frumpy and out of shape and sounded very subpar compared to how he was performing before, and Omar seemed like he was passing away from boredom onstage. I heard a bunch of praise for the live version of In Absentia from that show but I thought it sounded terrible. I just didn't follow where Deantoni was going with the drums, Cedric's falsettos during some of those parts were yuck, and overall it just came out messy and sludgy.

Deantoni's contributions as a live drummer were an interesting experiment for Omar & Cedric and I can see where some of his strengths came into play on the synth & digital percussion centric album material, but I think Dave Elitch excited me more behind the kit and so I'm pumped to see him recording some music with them now.
This.

I wondered at the time if that was one of the main reasons for both the band and O & C running out of steam so much towards the end. Especially as Omar had apparently waited so long for Cedric to lay down the vocals only for Cedric to go down the comedyceddy route after performing them live a bunch of times and start half arsing the majority of the songs.

It was the same for me earlier on as well. I saw them with Les Savy Fav on the first UK tour, they were amazing then but ferocious a year later when they had more (finished)Deloused material to draw on. Cedric was like a man possessed throughout both tours and there wasn't an inch of humour to it at all, everyone was transfixed. Fast forward a year or so to around the time Frances was released and it pretty much consisted of Cedric saying "Wooh" and "baby" a ton of times and trying really awkwardly to dance. I specifically remember one of the Manchester gigs during the Frances era where within the first minute of Cygnus me and a friend (who had himself been following ATD-I live for a long time and had seen the same TMV gigs I'd mentioned) looked at each other in horror. I actually think we left half way through after they botched Drunkship and went and got Chinese food. Was a sad moment I must admit.

Always continued to follow them but it wasn't until the ORLG/SXSW that I got REALLY F*CKING EXCITED again. I shat when I first saw that shot of Dyslexicon.

#146 R.I.P.TMV

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Posted 16 April 2014 - 07:35 PM

OMG

I'm in love with your sig.



#147 evagetsuga

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Posted 16 April 2014 - 08:19 PM

 

OMG

I'm in love with your sig.

 



#148 liriodendron

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Posted 17 April 2014 - 04:32 PM

but where are the titties with grade A milk in them? 



#149 liriodendron

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Posted 17 April 2014 - 04:49 PM

if you recorded your music from a mixer straight into your software program, is the original recording considered the master? or is it the bator?



#150 liriodendron

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Posted 17 April 2014 - 04:59 PM

also drink for thought, this was obviously a Mars Volta dying and be reborn as AnteMasque right? So this first record is basically deloused (they even have flea playing on this shit) and they are going to go through the seasons again. So instead of Omar and Cedric dying they were reborn under new guises. 

 

I mean shit, this is what I would do and this is the only way to fucking do it man. You gotta keep your bitch or your wives happy, you spice shit up eh? 

 

P.S. they had this shit planned all along and Zavalaz was Cedric getting funds to produce this project eh? 



#151 liriodendron

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Posted 17 April 2014 - 05:14 PM

so Frances the Mute part 2 2016 for all of you Frances The Mute Junkies. 

 

I think in 2016, SaNcheNusS will be touring with AnteMasque but I could be wrong. That is going to be fucking crazy I might add or subtract even multiply!

 

but right now he is Brazil preparing for the world cup and total brazilian takeover. 



#152 rouofcoorflig

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Posted 17 April 2014 - 06:47 PM

It would be pretty sweet to hear Antemasque's equivalent to FTM. I'd imagine a double album where they just wander around in many different styles, unfocused in a good way. Kind of like Embryonic by The Flaming Lips and Grace For Drowning by Steven Wilson.

#153 tohereknowswhen.

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Posted 18 April 2014 - 04:59 PM

 

 

 

Much as I hate to admit it. The last gig wasn't particularly enjoyable. Terrible crowd, the sound left a lot to be desired, and if I'm being completely honest the band had run the set list into the ground by that point and it just seemed to trundle along. In comparison they were great at Hard Rock Calling a couple of days before, the sound seemed a lot better (at least from where I was standing) and I think the shorter set worked better for them (no Widow as I recall). The SXSW sets on the other hand, now they were a whole different ball game.

Crowd was awful but it was the best I'd seen them play in years. Deantoni brought a lot of energy back that had been missing. That In Absentia was amazing and yet that was the point where most of the crowd checked out of the show. Was a lot easier to enjoy after loads of people left.

See yeah I always got that vibe from the last tour whenever I saw videos that they looked bored out of their minds playing old stuff and were clearly a bit frustrated that they weren't seeing as much success in this new era where they played almost exclusively new stuff. D was alright for the nocto stuff but I hated what he did with the oldies totally took the swing out of em and made them very robotic and rigid to my ears. Plus mellow Goliath has nothing on heavy upbeat Goliath as we were used to hearing in the past....that riff needs to blare loudly not hang our mellow like...

Glad they're back together and happy, it's cool to see they're moving on with new material

 

 

The footage I saw from those last few shows absolutely paled in comparison to their 2011 SXSW & summer dates. In those early gigs supporting Noctourniquet they seemed totally refreshed, Cedric had cut his hair and was resurrecting his old ATDI stage presence, doing scissor kicks and going apeshit while killing it on the vocals. Omar was getting his dance on and rocking out when I saw them open for SG. The energy was palpable. That Emo's Annex set was so intense!

 

Some of those last dates though, the Israel gig and HMV Forum especially... Cedric just suddenly looked frumpy and out of shape and sounded very subpar compared to how he was performing before, and Omar seemed like he was passing away from boredom onstage. I heard a bunch of praise for the live version of In Absentia from that show but I thought it sounded terrible. I just didn't follow where Deantoni was going with the drums, Cedric's falsettos during some of those parts were yuck, and overall it just came out messy and sludgy.

 

Deantoni's contributions as a live drummer were an interesting experiment for Omar & Cedric and I can see where some of his strengths came into play on the synth & digital percussion centric album material, but I think Dave Elitch excited me more behind the kit and so I'm pumped to see him recording some music with them now.

 

being there and watching it on youtube are the same, yeah.



#154 xaml

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Posted 19 April 2014 - 04:00 PM

I don't have a problem with anyone choosing to be religious (even if it is creepy, aggressive, money-cults about space aliens), I'd just rather not listen to music and lyrics associated with those sorts of things (unless it's bonkers 1970s Christian folk collectives like The Trees Community haha)

 

In this specific case, I agree with not wanting to be associated with such a musician, actor, actress and so on. It does take a certain humanistic conviction and consequence, which perhaps not everyone was willing or able to come up with. 

 

It is important to realise, though, that Scientology is not a religion and is only referred to as such because this dangerous cult, this sect - really, don't take my word for it, ask those who were able to get away from it - was granted the status of a religion in the United States, where perhaps a misjudgement towards a supposed minority and federal interests of a financial nature were involved.



#155 diablo

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Posted 20 April 2014 - 01:55 PM

bought everything with the topspin link before it went public. Hope it counts for the first 10,000 as it seems to be on bandcamp now and don't want to buy everything again for the third time...



#156 secretagentbill

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Posted 21 May 2014 - 09:27 AM


Do you think Omar would ever take the time to acquire the masters for all The Mars Volta albums? Or does he own the masters already, or do they belong to each respective major labels?


It appears TMV owns them: http://forum.thecoma...88502&p=2288867

Actually I'm pretty sure they dont't, at least the universal released ones. Despite what this person says, they (o & c) specifically address this in a magazine interview from '05 promoting frances right after it came out. (I wanna say the name of the mag was nme or ap or one of those abbriveated titles, omar and cedric were on the cover both sitting cross leggeded, I own a hard copy but am sure scans must exsist, if I wasn't on my mobile i'd look myself) the main topics of conversation were that they had recently given up hard drugs before recording frances, and talking about their deal at universal, and cedric fields the label/contract question by saying that it was omar who masterminded the deal & how to get it etc. (Bescause he's better at that stuff he says) that the reason they made it a point to diy book the first us, euro & japanesse tours & self release Tremulant was so that when they did go to the negoiating table at whatever label showed interest, they would be negoiating from a place of "see, we don't NEED you, we just booked our own world tour & self released our first EP on our own label, but we'd like your distribuition, $ etc." So he goes on to say that despite being able to negoiate for almost literally everything they wanted from universal, the one thing they didn't get (but requested) was that the masters would revert to the band when the contract was done. Cedric is specifically quoted as saying that's the one thing the label didn't give them... but who knows, it sounds like that person in the article you quoted knows what they're talking about, maybe the deal was amended between frances and amp? Who can say, we're only fans guessing after all...

#157 natedog807

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Posted 23 May 2014 - 04:08 AM

Actually, Kimbra has the original master tapes of Frances, duh.

#158 SnkZato1 Ph.D.

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Posted 23 May 2014 - 05:02 AM

Actually, Kimbra has the original master tapes of Frances, duh.

Kimbra remixes of Frances material....I'd be hella down



#159 buddh4sack

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Posted 23 May 2014 - 06:06 AM

No, Matt spanked her and told her to put them back because they didn't belong to her.

#160 Jack Austin Gilbert 7

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Posted 11 June 2014 - 09:06 AM

 

 

 

 

the only other Mars Volta album I could think to remaster would be Amputechture for sure.

Jon Theodore was way too quiet on amp.

 

a remaster wouldn't fix that. you're thinking of a remix.

amp is mastered fine. only album not mastered well is noct

 

 

What is exactly the difference? I understand the mixing process involves changing the volumes and how predominant each instrument or sound is, am I right?

What is mastering then?

 

I may be wrong, but my understanding is

 

Mixing is assembling the parts to form the whole track and all that is involved there

 

Master is tweaking the whole track itself.

 

In this day and age mastering means compressing the living fuck out of everything so it sound SUPER LOUDDDDDD

 

That's more or less accurate. When songs are recorded you typically have between 8 and 50 tracks for all the parts (guitar 1, guitar 2, bass, vocals, etc etc) which are then mixed appropriately. So if you want one guitar faint in the background you mix it lower, vocals to be more prominent you mix them higher, and so on. Once that's all done you have your mix, you take that and you proceed to master it, which essentially makes the volume of the song appropriate relative to its peers. So when you make a playlist with music by The Mars Volta, Red Hot Chili Peppers, and Katy Perry, everything is pretty much consistent in terms of volume and you don't have to screw around with your volume dial every time you change songs or albums.

 

That's why when you listen to an old master of a band like The Rolling Stones, it's much more quiet than a 2012 release like Noctourniquet. This is due to the Loudness Wars which I'm sure most of us have heard of, which is basically the result of everything being mastered really loudly these days. Don't know why the fuck that is, but it ruins audio quality so most everything sounds like shit.

 

If you want to hear great recordings, Rage Against The Machine was mixed and mastered to audiophile standards, and Loveless by My Bloody Valentine has a very quiet master and is of great quality.






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