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Filthzilla wrote:I just really wish Em would put out more like 'The Eminem Show' album. That was sooo hot. Now it's just urrghhhhhhhhhhh.

gen_ wrote:It's simple really. Dre is from the old school where producers used to compress each sound individually to achieve a better overall sound. Dre's record is halfway between old school (the beat is more historical Dre than most he does these days) and new school (especially the sung vocal, which was most likely mixed by a different Guy)

Now dre's engineer/mastering wasn't his normal crew. If you listen to Massacre and GRODT its mastered completely differently. With Dre his masters usually have a multiband limiter on it because he compresses while mixing (easy to tell because lots of his old records with NWA have unmastered copies floating around) but this mastering engineer treated him like timbo (who limits a lot when mixing) and compressed him again.

Hell F O wrote:Doesn't enyone think Dre's verse sound exactly like it was written by Eminem? Especially the end of his verse.

bassinine wrote:op: it's spelled "faux pas," it's french.

-[2]DAY_- wrote:

bassinine wrote:op: it's spelled "faux pas," it's french.

lmao @ "fo-par"

Shum wrote:Heavy handed compression on a modern commercial track... well I never.

bassinine wrote:op: it's spelled "faux pas," it's french.

Blaster wrote:

bassinine wrote:op: it's spelled "faux pas," it's french.

haha *whew*, im sitting here thinking im the only one who never heard the term "fo-par" before

Project EX wrote:

Filthzilla wrote:I just really wish Em would put out more like 'The Eminem Show' album. That was sooo hot. Now it's just urrghhhhhhhhhhh.

has nothing on marshall mathers lp, shit went downhill after this

thefrim wrote:

gen_ wrote:It's simple really. Dre is from the old school where producers used to compress each sound individually to achieve a better overall sound. Dre's record is halfway between old school (the beat is more historical Dre than most he does these days) and new school (especially the sung vocal, which was most likely mixed by a different Guy)

Now dre's engineer/mastering wasn't his normal crew. If you listen to Massacre and GRODT its mastered completely differently. With Dre his masters usually have a multiband limiter on it because he compresses while mixing (easy to tell because lots of his old records with NWA have unmastered copies floating around) but this mastering engineer treated him like timbo (who limits a lot when mixing) and compressed him again.

minor detail: Dre didn't produce this track. Alex da Kid did

Turnipish Thoughts wrote:

I know my ears are becoming more trained because the first time i listened to this tune all I could hear was how unforgivably obvious compression is in this track. There seems to be next to no dynamic range and that real 'squelch' of everything being squashed into a box.

Do you think this is a production fo-par? or do you think this was intentional for creative reasons? I'm seriously on the fence. I mean yes sure, use compression/limiting/maximization to drive up the psycho-acoustic weight of a track, but I've always had the strong opinion that these things should be invisible, where in this case it's clearly audible.

Has the effects of modern studio sound engineering and audio processing on POP (/contemporary EDM music in general) music altered the cultural paradigm to such a degree that things as artificial and audibly processed as this can pass as credible industry standard releases?

Is the creation of our music being so process orientated within our culture, effected the perceived expectation of the audience to the degree that what can be argued as processing artifacts are now considered part of the expressive content of a track?

What's your opinion on this? And how do you feel compression and/or other 'invisible' processes should be treated in the production process, and ultimately, on the other hand, how do you feel their use has effected the overall expectations of a track in today's contemporary music culture?