plleeeaaaase give some constructive .....
- Thread starter DeeExpus
- Start date
J.C. Scott
New member
Usually singles intended for radio are fairly compressed; the reason I thought you may have been applying so much compression. At 12 minutes, this isn't likely to be an issue. That's all I meant.
J.C. Scott
New member
No offense but the mix sounds hyper compressed/smashed, with relatively no dynamics left compared to the original version. The track can't breathe at all because everything sounds loud, and ironically when everything is loud, nothing is loud. If there are instruments that are already compressed, why would you want to compress the mix down even more? To even it out? If an instrument sticks out a bit too much, it's easy enough to tuck it back in the mix by cutting the main frequency of that instrument to taste via EQ if needed, but some instruments are supposed to be the focus while others should be more snug in the mix and for a lot of people, that creates depth. One look at the WAV file compared to the original quickly confirmed what I was hearing though. That said, this track can most assuredly be mastered without much, if any, compression at all. EQ would be my weapon of choice for this particular job.
DeeExpus
and for my NEXT mix ... !
Ive heard of a thread being hijacked before .....
But never a song
hehe.
Firstly, thank you for taking such an interest in this track Blackbay and thank you for spending what probably amounts to a few hours posting suggestions and "mastering". I hope anything I write in this post doesnt cause you offence, theres certainly none intended, Im most flattered that you would spend the time that you have.
I little while ago, I got into a band called Porcupine Tree who have inspired me tremendously and caused an about face in the direction of my music. Their last 2 albums both have lengthy tracks one at 12.01, one at 17.41 and most of the other tracks are between 5 and 8 minutes. I recently went to see them in concert and was absolutely blown away.I decided I wanted to write a bit of a tribute using some of their production values and also to try and emulate their style of music for one track on my album hence the length of 12 minutes.
The Clock ticking at the start is there to signify a long wait. It was something I wanted in the track and spent a good while sampling it and farting around with it. I realise some may find it irritating and its funny how you get used to something like that and never give it a second thought. Theres alot of people had a listen to this track, generally people into this genre of music, and this thread contains the first comments ive had about it, all greatly recieved I hasten to add.
Ok, on to the "radio Edit". Firstly, heres a strange little irony. About 3 weeks ago, I sent a rough mix to a friend of mine, who liked it and took it upon himself to send it to an online prog radio station thing. Granted they probably have 2.5 listeners comprised of a cat and its owner, but none the less, he playlisted it and it got "airplay". for your amusement, heres the playlist:
<i>On top of everything, DeeExpus does an excellent PT tribute,
check out the lyrics!
1. Porcupine Tree - Trains (5:56) (For JeffS' birthday!)
-- Interview with Gayle Ellett from Djam Karet/Fernwood --
2. Djam Karet - The March To The Sea of Tranquility (7:24)
3. Djam Karet - Dr. Money (7:17)
4. Frost* - Here is the News (3:55) (For JeffS' birthday!)
5. The Third Ending - Can You Hear Me? (7:26)
6. Jeff Lynne - Now You're Gone (3:58) (For JeffS' birthday!)
7. Fernwood - Makena Beach (3:44)
8. Fernwood - Crane (3:23)
9. Fernwood - Crow (3:45)
-- Marillion Live - Family --
10. Marillion - Splintering Heart (7:26)
11. Marillion - Hotel Hobbies (3:11)
12. Marillion - Warm Wet Circles (4:10)
13. Marillion - That Time of the Night (5:41)
14. Poverty's No Crime - From a Distance (5:56)
15. Poverty's No Crime - Every Kind Of Life (6:15)
<b>16. DeeExpus - PT tee (12:22)</b>
-- Marillion Live - Family --
17. Marillion - Bedshaped (4:19)
18. Marillion - Six Months in a Leaky Boat (3:23)
19. Marillion - The King is Half-Undressed (3:51)
20. Marillion - Accidents Will Happen (3:00)
21. Marillion - She Goes On (3:16)
-- Debut of Big Big Train - The Difference Machine --
22. Big Big Train - Pick Up If You're There (13:40)
-- Interview with Sean Filkins from Big Big Train
23. Dave Meros from Spock's Beard Speaks about Big Big Train (0:33)
24. Big Big Train - Perfect Cosmic Storm (14:40)
-- Interview with Sean Filkins from Big Big Train (continued)
25. Big Big Train - Salt Water {Falling On Uneven (12:38)
26. Big Big Train - Summer's Lease (7:34)</i>
(sorry, just thought it was ironic)
Anyway, Im wondering why I come across as though I a) dont know how to write and b) as though this is one of my first tracks. Is it because of the song "structure"? My first album (this being my second) is comprised of 4 minute "pop" songs: verse, bridge, chorus etc etc and there is a track on this one which is a 3.5 minute song in this vain. Ive written that type of stuff all my life and like to think Im reasonable at it. As I said earlier, I want a change in direction and am writing now in the style of the music to which I listen to. Ultimately, Im not interested in airplay, hit singles, being a rock star etc. Ive had my shot at it, failed and am now catering for myself and anyone who wants to listen to it. Albums for me, I'm afraid, not singles. I appreciate your very detailed instruction on how to edit my 12 minutes down to 4, and also appreciate how long it must have taken you to analyse it.
With reference to your mastering, J.C Scott fairly much said it all. I havnt a clue about mastering, and dont prtend to. The only thing I do know is that a good mastering eingineer can make a MASSIVE difference to the end result. I use a studio in the south of England who I pay to Master for me and his results for me are well worth it. The first listen I had to your Master really made me cringe. It sounded incredibly Harsh, especially given that I was listening on a set of speakers that normally make everything I do sound great! (baaaaad speakers!). I burnt a CD for the car and listened to it again. Im really sorry to say m8, its awfull. Sounds a tad distorted in the high mids and has accentuated frequencies on the acoustics that I was trying to eq out. not what I was looking for at all.
Seriously tho, ive had a listen to your stuff and what you do sounds really well produced. Im sure you'll do great with it. Ur websites quite cool too.
Thanks again for taking the time Blackbay, I really do appreciate it.
By the way, its the damn radio stations that compress the hell out of their signal
Andy
ps Greg_L, your posts made me laugh! hehe thanks m8.
But never a song
hehe.Firstly, thank you for taking such an interest in this track Blackbay and thank you for spending what probably amounts to a few hours posting suggestions and "mastering". I hope anything I write in this post doesnt cause you offence, theres certainly none intended, Im most flattered that you would spend the time that you have.
I little while ago, I got into a band called Porcupine Tree who have inspired me tremendously and caused an about face in the direction of my music. Their last 2 albums both have lengthy tracks one at 12.01, one at 17.41 and most of the other tracks are between 5 and 8 minutes. I recently went to see them in concert and was absolutely blown away.I decided I wanted to write a bit of a tribute using some of their production values and also to try and emulate their style of music for one track on my album hence the length of 12 minutes.
The Clock ticking at the start is there to signify a long wait. It was something I wanted in the track and spent a good while sampling it and farting around with it. I realise some may find it irritating and its funny how you get used to something like that and never give it a second thought. Theres alot of people had a listen to this track, generally people into this genre of music, and this thread contains the first comments ive had about it, all greatly recieved I hasten to add.
Ok, on to the "radio Edit". Firstly, heres a strange little irony. About 3 weeks ago, I sent a rough mix to a friend of mine, who liked it and took it upon himself to send it to an online prog radio station thing. Granted they probably have 2.5 listeners comprised of a cat and its owner, but none the less, he playlisted it and it got "airplay". for your amusement, heres the playlist:
<i>On top of everything, DeeExpus does an excellent PT tribute,
check out the lyrics!
1. Porcupine Tree - Trains (5:56) (For JeffS' birthday!)
-- Interview with Gayle Ellett from Djam Karet/Fernwood --
2. Djam Karet - The March To The Sea of Tranquility (7:24)
3. Djam Karet - Dr. Money (7:17)
4. Frost* - Here is the News (3:55) (For JeffS' birthday!)
5. The Third Ending - Can You Hear Me? (7:26)
6. Jeff Lynne - Now You're Gone (3:58) (For JeffS' birthday!)
7. Fernwood - Makena Beach (3:44)
8. Fernwood - Crane (3:23)
9. Fernwood - Crow (3:45)
-- Marillion Live - Family --
10. Marillion - Splintering Heart (7:26)
11. Marillion - Hotel Hobbies (3:11)
12. Marillion - Warm Wet Circles (4:10)
13. Marillion - That Time of the Night (5:41)
14. Poverty's No Crime - From a Distance (5:56)
15. Poverty's No Crime - Every Kind Of Life (6:15)
<b>16. DeeExpus - PT tee (12:22)</b>
-- Marillion Live - Family --
17. Marillion - Bedshaped (4:19)
18. Marillion - Six Months in a Leaky Boat (3:23)
19. Marillion - The King is Half-Undressed (3:51)
20. Marillion - Accidents Will Happen (3:00)
21. Marillion - She Goes On (3:16)
-- Debut of Big Big Train - The Difference Machine --
22. Big Big Train - Pick Up If You're There (13:40)
-- Interview with Sean Filkins from Big Big Train
23. Dave Meros from Spock's Beard Speaks about Big Big Train (0:33)
24. Big Big Train - Perfect Cosmic Storm (14:40)
-- Interview with Sean Filkins from Big Big Train (continued)
25. Big Big Train - Salt Water {Falling On Uneven (12:38)
26. Big Big Train - Summer's Lease (7:34)</i>
(sorry, just thought it was ironic)
Anyway, Im wondering why I come across as though I a) dont know how to write and b) as though this is one of my first tracks. Is it because of the song "structure"? My first album (this being my second) is comprised of 4 minute "pop" songs: verse, bridge, chorus etc etc and there is a track on this one which is a 3.5 minute song in this vain. Ive written that type of stuff all my life and like to think Im reasonable at it. As I said earlier, I want a change in direction and am writing now in the style of the music to which I listen to. Ultimately, Im not interested in airplay, hit singles, being a rock star etc. Ive had my shot at it, failed and am now catering for myself and anyone who wants to listen to it. Albums for me, I'm afraid, not singles. I appreciate your very detailed instruction on how to edit my 12 minutes down to 4, and also appreciate how long it must have taken you to analyse it.
With reference to your mastering, J.C Scott fairly much said it all. I havnt a clue about mastering, and dont prtend to. The only thing I do know is that a good mastering eingineer can make a MASSIVE difference to the end result. I use a studio in the south of England who I pay to Master for me and his results for me are well worth it. The first listen I had to your Master really made me cringe. It sounded incredibly Harsh, especially given that I was listening on a set of speakers that normally make everything I do sound great! (baaaaad speakers!). I burnt a CD for the car and listened to it again. Im really sorry to say m8, its awfull. Sounds a tad distorted in the high mids and has accentuated frequencies on the acoustics that I was trying to eq out. not what I was looking for at all.
Seriously tho, ive had a listen to your stuff and what you do sounds really well produced. Im sure you'll do great with it. Ur websites quite cool too.
Thanks again for taking the time Blackbay, I really do appreciate it.
By the way, its the damn radio stations that compress the hell out of their signal
Andy
ps Greg_L, your posts made me laugh! hehe thanks m8.
theblackBay
Mean average best idiot..
yeah
i put it though my Hi-fi test the only thing that comes out is that i should have pulled some low end hum out a little more, .... "ironically when everything is loud nothing is loud".
I master for Hi-fi not your studio monitors as you will see i said i pulled it too far as i usually go to -14 -15 which lowers any negative compression effect that might exist either in the mix or otherwise.
the Master is definitely more clear in the mid lows and as result there is less frequency interference in the vocal section so the vocals stand out as well.
the unmaster sounds just that unmastered.....it's a good mix but just has a bit of mud at the bottom and a bit of mid blurr, you could get away with it on say a older sounding track like maybe Rami's or the other one, but unfortunately (for you) you must understand that A big guitar drum sound will be compressed.
now like i said I’m talking -14 -15 not this -8 -6 -10 i see because max a track there and dynamic issues are unavoidable, but having said that if the producer wanted it like that then maybe that is his sound.. Where it does become an issue is when it is done on every song.
Like i was going to look at "a measure of salt" but seen that he has either put a max-er on the output or maxed it already.. so i didn't touch that because it's an older sounding song.
Summary : listen to it on your Hi-fi not your monitors.
there is low resonance but i could fix that in a sec... but i couldn't be bothered.
if you still think the unmaster is "better" get new hearing.
Having said that I’d drop it by another 2 db RMS but that’s my laziness working there for me.
i put it though my Hi-fi test the only thing that comes out is that i should have pulled some low end hum out a little more, .... "ironically when everything is loud nothing is loud".
I master for Hi-fi not your studio monitors as you will see i said i pulled it too far as i usually go to -14 -15 which lowers any negative compression effect that might exist either in the mix or otherwise.
the Master is definitely more clear in the mid lows and as result there is less frequency interference in the vocal section so the vocals stand out as well.
the unmaster sounds just that unmastered.....it's a good mix but just has a bit of mud at the bottom and a bit of mid blurr, you could get away with it on say a older sounding track like maybe Rami's or the other one, but unfortunately (for you) you must understand that A big guitar drum sound will be compressed.
now like i said I’m talking -14 -15 not this -8 -6 -10 i see because max a track there and dynamic issues are unavoidable, but having said that if the producer wanted it like that then maybe that is his sound.. Where it does become an issue is when it is done on every song.
Like i was going to look at "a measure of salt" but seen that he has either put a max-er on the output or maxed it already.. so i didn't touch that because it's an older sounding song.
Summary : listen to it on your Hi-fi not your monitors.
there is low resonance but i could fix that in a sec... but i couldn't be bothered.
if you still think the unmaster is "better" get new hearing.
Having said that I’d drop it by another 2 db RMS but that’s my laziness working there for me.
theblackBay
Mean average best idiot..
In that case i'm sorry
if you listen to it on your car stereo, then your right and i'm sorry that's where i listen to most all my stuff in the end i have a good set of terrible speakers.
ok because it take so little of my time i will do it again properly this time.
i pulled it too far as i said.
about the other stuff no probs, it took me about 10 minutes to analyse that song structure wise.
i just listened to it and told you what would turn it into a better song that people will listen to.
in my opinion it doesn’t have enough energy for a 12 min song like i said the chorus and the breaks are great.
but the last pieces basically it's two songs realistically that just my opinion.
I'm not saying scrap it but from a production point of view i'd just feature it.
i wouldn't say anything if i didn't think it wouldn't benefit.
like i said come back in 2 months.
if you listen to it on your car stereo, then your right and i'm sorry that's where i listen to most all my stuff in the end i have a good set of terrible speakers.
ok because it take so little of my time i will do it again properly this time.
i pulled it too far as i said.
about the other stuff no probs, it took me about 10 minutes to analyse that song structure wise.
i just listened to it and told you what would turn it into a better song that people will listen to.
in my opinion it doesn’t have enough energy for a 12 min song like i said the chorus and the breaks are great.
but the last pieces basically it's two songs realistically that just my opinion.
I'm not saying scrap it but from a production point of view i'd just feature it.
i wouldn't say anything if i didn't think it wouldn't benefit.
like i said come back in 2 months.
theblackBay
Mean average best idiot..
Aaaah
I guess this is a lesson in lazyness for me...
i'm sorry i didn't bother to to listen in my test system and was looking at the numbers... oh i see what you were talking about with that mid high harshness.
your guitars and some symbols , i'm guessing you wanted to compromise between a blurr and a sharp guitar sound.
when you said you EQ'd it.
hmm i just maxxed your unmaster to distortion point on the system I speak of and it's there also (it's not bad like i said your mix is good) ..so unfortunatly Scott, EQ will do nothing but make the sound dull. i.e if you pulled this fequency. (the million dollar problem hey)
you absolutly need compression and i want you to go pay and get THIS mix mastered and post the result on here.
i'll post the next results on here soon.
i like doing this stuff no time lost for me.
i'm learning too.
I guess this is a lesson in lazyness for me...
i'm sorry i didn't bother to to listen in my test system and was looking at the numbers... oh i see what you were talking about with that mid high harshness.
your guitars and some symbols , i'm guessing you wanted to compromise between a blurr and a sharp guitar sound.
when you said you EQ'd it.
hmm i just maxxed your unmaster to distortion point on the system I speak of and it's there also (it's not bad like i said your mix is good) ..so unfortunatly Scott, EQ will do nothing but make the sound dull. i.e if you pulled this fequency. (the million dollar problem hey)
you absolutly need compression and i want you to go pay and get THIS mix mastered and post the result on here.
i'll post the next results on here soon.
i like doing this stuff no time lost for me.
i'm learning too.
Monkey Allen
Fork and spoon operator
Well, I know I'm not being inquisitioned or anything myself, per say, but I always just thought this was a track by a dude having a bit of fun and experimenting a bit, and even paying homage to similar kinds of tracks. I couldn't have known about the band you took a shine to...but there it is!
I try not to read too much into stuff...or even listen as it turns out...sorry I only made it to 6 minutes...but hey you seemed happy I got that far.
theblackBay
Mean average best idiot..
Ok two problems with the mix at high level
1. your programmed drums, they are not the problem, but here the issue when you use a "drum Machine" is that you get obviously full spectrum samples at full volume this is often no problem except for the Symbols.
as is in this case, anyone on here go listen to the track at close to or near full distortion point or just max it on the headphones listen for the first crash to start the progressive part of the song. it's harsh.
when you look at your mix what are your Symbols samples sitting at?
I’d recommend based on the fact that they are samples try -11 or even on Crash -13db i don't know what they are at now but i find that a lot, you have to lower them in the mix expecting they will be risen later.. but it's not bad just they are harsh that's all.
2. the Guitar it has a lot of top harmonies like you said you may have tried to EQ them out but it's really no problem the issue is the Symbols really.
all good otherwise.
1. your programmed drums, they are not the problem, but here the issue when you use a "drum Machine" is that you get obviously full spectrum samples at full volume this is often no problem except for the Symbols.
as is in this case, anyone on here go listen to the track at close to or near full distortion point or just max it on the headphones listen for the first crash to start the progressive part of the song. it's harsh.
when you look at your mix what are your Symbols samples sitting at?
I’d recommend based on the fact that they are samples try -11 or even on Crash -13db i don't know what they are at now but i find that a lot, you have to lower them in the mix expecting they will be risen later.. but it's not bad just they are harsh that's all.
2. the Guitar it has a lot of top harmonies like you said you may have tried to EQ them out but it's really no problem the issue is the Symbols really.
all good otherwise.
DeeExpus
and for my NEXT mix ... !
SummaryII: I didnt listen to it on my Studio Monitors, I listened to it on my work system which is a pair of Creative thingys connected to a little powered sub, connected to my laptop, all in all about 20 of your earth pounds worth. The cars system is a little (lot) nicer.
If you want to carry on doing what you're doing, then thats fine, though Id rather they werent posted on a public page on your site.
Cheers
"New Hearing" on order ......
If you want to carry on doing what you're doing, then thats fine, though Id rather they werent posted on a public page on your site.
Cheers
"New Hearing" on order ......
DeeExpus
and for my NEXT mix ... !
DeeExpus
and for my NEXT mix ... !
hmmm, not sure about the cymbals, Ill need to take a look/listen. Theres 2 overheads mixed with 2 room mics through a stereo channel in the desk. Ill tracem back to the "sampler" and see if theres a prob along the way. Cheers and thanks agaaaaiiiin
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theblackBay
Mean average best idiot..
Cheers.
hey no problem dude just trying to help.. like i said go get this mix mastered and post up the results.
i'd like to hear Scotts also. ( want to hear those symbols fixed dude)
i have another one here that was much less hash i was just about to throw it though the test, as i said i got lazy also i fixed those harsh Symbols up as well. it's sounding ok too.
"If you want to carry on doing what you're doing, then that’s fine, though Id rather they weren’t posted on a public page on your site."
dude i wouldn't be so precious it's really not that good, you missed it by a decade or so you know the 80's.
go listen to Rami's song can't remember the name the one he just posted it's got some issue with the drums but dude that song is in "fashion" now.
but there is always a market for the kind of stuff your doing but trust me it's not on my site for that reason lol.
people can't access that page from the main site. it's totally hidden, i always like a challenge and i dropped the ball on the first master (alcohol and depression) but the one i got here is a vast improvement.
by the way you can put my stuff up on your site if you like lol ha ha actually post the whole lot up!. put it on your myspace too.! lol sorry jokes.
i'll take it off just as soon as i can. you never know who might be listening.
hey no problem dude just trying to help.. like i said go get this mix mastered and post up the results.
i'd like to hear Scotts also. ( want to hear those symbols fixed dude)
i have another one here that was much less hash i was just about to throw it though the test, as i said i got lazy also i fixed those harsh Symbols up as well. it's sounding ok too.
"If you want to carry on doing what you're doing, then that’s fine, though Id rather they weren’t posted on a public page on your site."
dude i wouldn't be so precious it's really not that good, you missed it by a decade or so you know the 80's.
go listen to Rami's song can't remember the name the one he just posted it's got some issue with the drums but dude that song is in "fashion" now.
but there is always a market for the kind of stuff your doing but trust me it's not on my site for that reason lol.
people can't access that page from the main site. it's totally hidden, i always like a challenge and i dropped the ball on the first master (alcohol and depression) but the one i got here is a vast improvement.
by the way you can put my stuff up on your site if you like lol ha ha actually post the whole lot up!. put it on your myspace too.! lol sorry jokes.
i'll take it off just as soon as i can. you never know who might be listening.
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theblackBay
Mean average best idiot..
are you talking about my original coments greg?
i rescinded those in the next reply.
i'll say sorry again... sorry greg.
the song has two choices.
1. leave it unmastered and there will be no issues.
2. as volume rises the sharpness of the Guitar harmonics stands out and the Symbols now if it were me i'd just simply go fix it in the mix, but if you don't..
you have to apply a method of softening the sharp highs but not muddying the song.
i mean it's ok if you want to leave it at -22 db which in my car at normal to high volume i could hear say... the vocals.
but i'd aim for at least -16 with no effects which is what i did.
but then old mate got touchy about his song so i deleted it.
i mean -16 is a long way from -13 (my original bad master) and if you read the very first post i did say i put it hot so he could hear things in the mix you can go back and read that..i did actually say that you know.
yeah it did suck - but i fixed it anyhow who cares. i do it for practice i know what i done wrong and i'm glad i did it.
the song that's another issue...... i mean even i can see when my work lacks in the energy side.. and it's flaws ..i love my work.....
in summary all i have to say is:
https://www.youtube.com/watch?v=Fwyj3D13QhA
i rescinded those in the next reply.
i'll say sorry again... sorry greg.
the song has two choices.
1. leave it unmastered and there will be no issues.
2. as volume rises the sharpness of the Guitar harmonics stands out and the Symbols now if it were me i'd just simply go fix it in the mix, but if you don't..
you have to apply a method of softening the sharp highs but not muddying the song.
i mean it's ok if you want to leave it at -22 db which in my car at normal to high volume i could hear say... the vocals.
but i'd aim for at least -16 with no effects which is what i did.
but then old mate got touchy about his song so i deleted it.
i mean -16 is a long way from -13 (my original bad master) and if you read the very first post i did say i put it hot so he could hear things in the mix you can go back and read that..i did actually say that you know.
yeah it did suck - but i fixed it anyhow who cares. i do it for practice i know what i done wrong and i'm glad i did it.
the song that's another issue...... i mean even i can see when my work lacks in the energy side.. and it's flaws ..i love my work.....
in summary all i have to say is:
https://www.youtube.com/watch?v=Fwyj3D13QhA
theblackBay
Mean average best idiot..
OH fuck i'm
Crying with laughter.
how good is that !111
Crying with laughter.
how good is that !111
J.C. Scott
New member
The overall loudness of the track made it too difficult to form an opinion about the frequency spectrum.
Do you use studio monitors initially though? If so, which monitors are you using? If you're not using monitors, then you should be. No mastering engineer worth his salt would ever dare master on a pair of generic consumer grade hi-fi speakers. Yes, engineers use regular hi-fi speakers for reference purposes, but only to check the mix - not to master through them.
If you've damaged audio (clipping) by adding too much compression, how are pulling down the faders going to remediate damage caused by clipping? You're just lowering the volume of the damaged audio but it's still damaged nonetheless. It's like recording a really loud concert to the point where the audio is somewhat garbled. Lowering the volume after it's been recorded only reduces the volumes of the entire mix, garble and all. It doesn't actually do anything to remediate the problem at all. In DAW's like Audition, there's a Clip Restoration feature, but what's the point when you could just avoid clipping the audio in the first place.
If you're still in doubt, here's a video demonstration:
http://www.turnmeup.org/
The video is toward the middle of the page.
Whether the unmastered version sounds unmastered or not isn't really the point, in my opinion. Your 'mastered' version did not improve (and actually degraded) the quality of the mix.
It's the sound of most commercial releases today but that's not because producers and engineers think it's so warm and clean. Record companies have adopted the belief that louder is better; louder projects stand out from the crowd, thus they want their releases to sound louder than everybody elses. Honestly though, I can't imagine any engineer worth his salt thinking clipped audio sounds more desirable than unclipped audio. But that's why there's a volume knob; if it's not loud enough, turn it up!
And how, exactly, is a person supposed to really hear, evaluate and identify any problems in your 'master' using a pair of regular speakers? What do you think is going to happen when someone with a better sound reproduction system than you listens to your project? By your logic, the fault would apparently be theirs for not listening to the project on a lower end system. With all due respect that's ridiculous. The project needs to mastered and evaluated on a wide range of speakers, that's true, but it should sound good on higher end sound reproduction systems first, then work your way down to the lower end. When it sounds pretty good on every system you play it through, it's probably time to unleash it on the world.
Which monitors and speakers are you using?
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