starbuck26
New member
I've had a few things on my mind lately. I think everyone here is pretty much in agreement regarding the loudness war, and we also agree that there is way too much compression in modern rock. It doesn't need to be rehashed again.
That said, I've come across a few instances where the over-compressed mix, squashed to hell and back, actually works, and works well. So I thought maybe we can start a little discussion here of how and why it works, and see what lessons can be learned about the use of compression as an effect in and of itself in the studio.
The specific track I'm thinking about is Kids by MGMT. Here's a link to the youtube video. I think everyone here has probably heard this: https://www.youtube.com/watch?v=bIEOZCcaXzE
When I first heard this song I was shakin ma booty at a bar and didn't really notice or give a shit about the mix, I was tipsy and staring at boobies. But a couple days later I heard it in my car and turned it up a little bit. After the hook (the main synth lead), you can actually hear how the main bassy synth goes from being buried to SLAMMING YOU IN THE HEAD. You can hear it actually get noticeably louder. Well, not louder exactly, but certainly louder in context.
Pretty much every track in the mix sounds squashed to a flat line. There's virtually no dynamic swing to the entire mix, only perceived dynamics from pauses and things like that.
But: It works. And though it's probably accidental, the squashed mix actually reinforces the lyrics. "Take all that you need from me," he sings, and the mix is almost writhing under the weight of its own sound, as if to say the same thing.
Of course, this is not to say that I've now switched over and will start slamming everything into a brick because I want the kids who listen to my shitty songs and dance. On the contrary. But it's good sometimes to remind yourself that there's a reason for all of these over-compressed tracks, in some cases--I wouldn't say most cases, not by any stretch--but in some cases, the practice is warranted, and makes for a better mix.
That's a load off. Wondering what y'all think of this nonsense.
That said, I've come across a few instances where the over-compressed mix, squashed to hell and back, actually works, and works well. So I thought maybe we can start a little discussion here of how and why it works, and see what lessons can be learned about the use of compression as an effect in and of itself in the studio.
The specific track I'm thinking about is Kids by MGMT. Here's a link to the youtube video. I think everyone here has probably heard this: https://www.youtube.com/watch?v=bIEOZCcaXzE
When I first heard this song I was shakin ma booty at a bar and didn't really notice or give a shit about the mix, I was tipsy and staring at boobies. But a couple days later I heard it in my car and turned it up a little bit. After the hook (the main synth lead), you can actually hear how the main bassy synth goes from being buried to SLAMMING YOU IN THE HEAD. You can hear it actually get noticeably louder. Well, not louder exactly, but certainly louder in context.
Pretty much every track in the mix sounds squashed to a flat line. There's virtually no dynamic swing to the entire mix, only perceived dynamics from pauses and things like that.
But: It works. And though it's probably accidental, the squashed mix actually reinforces the lyrics. "Take all that you need from me," he sings, and the mix is almost writhing under the weight of its own sound, as if to say the same thing.
Of course, this is not to say that I've now switched over and will start slamming everything into a brick because I want the kids who listen to my shitty songs and dance. On the contrary. But it's good sometimes to remind yourself that there's a reason for all of these over-compressed tracks, in some cases--I wouldn't say most cases, not by any stretch--but in some cases, the practice is warranted, and makes for a better mix.
That's a load off. Wondering what y'all think of this nonsense.
(Ever get laid to "Little Red Corvette"? 
)
