There was a discussion about the recent Maroon 5 album, “Hands All Over” produced by the legendary Mutt Lange and much of it recorded and mixed by his long time collaborator, Mike Shipley (Def Leppard, Shania Twain, Aerosmith). In the midst of all of the comments, pro and con about the sound of the album (mostly pro!) a few people made some negative comments about the Mastering by Brad Blackwood (one of the most respected mastering engineers in the Industry) and Mike Shipley chimed in to explain why the mastering is the way it is.
I was so struck by his comments not just because of the heartfelt honesty, but to see how clearly the guys at the very top of the recording game have to deal with the same struggles about loudness, and ultimately creative direction as those of us a couple rungs down the ladder.
The “Loudness War” is one of the most controversial subjects in the world of recording, and usually the most misunderstood. If people feel something is mastered too loud, the blame is almost always put on the mastering engineer, and almost always incorrectly. I have never met a mastering engineer of any merit that loves how loud and distorted they are forced to make albums, and very few mixers that savor it.
Here is the gearslutz.com post in its entirely, but it is well worth checking out the original post and following the context of the conversation.
Originally Posted by shipshapeOk here we go if this is about the mastering , NO WAY is it the fault of the mastering engineer
Originally the mastering was 2 db lower , Brad and I thought it was spot on ! The label said it wasn’t loud enough. I actually stopped ALL the pressing plants to stop while I re valued the mastering. My point being. I just care so much how loud records are. I would really like this record to be quieter and keep the extra lo end octave !! And keep the balance we went for.
It’s politically hard to say this , but when the “label ” asked for it louder , I was upset as tho it wasn’t as loud as recent releases , I liked it and figured anyone would turn it up if it was quiet etc. The label wanted it louder to ” compete “. But we had ” dialogue ” over it Yes I was totally bummed. Brad and I had dialed in a modern record that WAS not involved in ” level wars ” with other artists.
I tried to convince the label that what we had was great. It went over my Head. So no wonder I’m pissed. I don’t work my ass off and put my whole life into a record to find out the label went over my head level wise. It’s VERY disturbing to a passionate person , but it happened.
I hate it and hate level wars etc. It can ruin within hours what ivve spent a year on !! U have no idea
I take this so personally because of the type of person I am. Therefore it kinda hurts when records I work on. Which are normally kinda odd records get pissed on by others. I really do the best I can , like all of us do.
I hate the ” no rules ” mastering that exists these days. But what can WE ALL DO to change this. I hate it and it depresses me .
Therefore I can’t say anything about the mastering , other than Brad is brilliant.
All the haters. Have a beer and move on to porcupine Tree or something. We are here doing the absolute best we can. It’s hard work
Shipshape
Bummer. I always figured some one like Mutt Lange could do what ever he wanted.
>>> Have a beer and move on to porcupine Tree or something
I wonder if he means that Porcupine Tree albums have loud levels? I currently have Deadwing in my car and found it really loud – despite this comment:
http://en.wikipedia.org/wiki/Deadwing#Loudness_war
I am not sure what he meant about Porcupine Tree. They are a great band. I have not heard the last record, but “In Absentia” is a great sounding album.
I really don’t see how a loud record wins the competition over a not so loud record. But hey, what do i know. I’m only a consumer…
Ronan,
In you opinion do you think if this trend continues of the “loudness war” that all records released by major labels will be so overly compressed and pumped up that clipping audio becomes of thing of the past? Or will every console have to extend there metering bridges up a few inches to keep up?*joke*
How do you think the engineering and mastering of Metallicas “Death Magnetic” played a roll in the Loudness War?
Thanks
Max, We have really taken the loudness thing as far as it can go. I am not aware of any way we can really push it further, so hopefully its at it apex. I think the loudness war will be around for at least a few more years, but I have this small glimmer of hope that the tide will turn and people will look at super loud masters as something very dated, the way people today think about excessive reverb in the 80s.
The good think about that Metallica record is that it got people thinking about the issue outside of recording circles, but do not blame the mastering engineer for that. By all accounts it sounded like that before he got it, and the mixer did exactly what Rick Rubin told him to do.
Thanks for sharing
Interesting thread there! It just goes to show that we never have all the facts. He makes an extremely valid point: why would someone work for a year on a mix, only to voluntarily have it compromised in mastering?