If the artist-dude wanted more blue he woulda used more blue, unless he ran out of blue and couldn't afford to get any more, painters used to be really poor back then.
"It is cool to be able to hear playback at home that is drastically better than it would be if it was played at the studio where the tracks were mixed."
I kinda get that, but then you get into what you are adding to the experience that the artist didn't intend and shit.
Like, the artists and producers mixed and EQ'ed and shit to the sound they heard from their studio monitors, and maybe now you can hear that crisp sha-ching of a hi-hat better, but maybe you're now hearing it more than intended and it's driving you nuts, like, why the fuck is that hi-hat like that, it's bugging the shit out of me, but it wasn't that way when it was on the studio monitors, technology is now, like, ear-fucking you and shit.
There was a lot of music back in the day that was mixed for mono, but then they would half-ass a stereo mix because some people were starting to buy stereos then. And the mono mixes usually kicked ass, because that was how they intended them to be heard, they wanted the sound to get all smooshed and shit, and then the stereo mix would have the drummer way over on the left and it would be like, why is the drummer way over there?
Because I could walk through a fancy art museum wearing blue glasses, and maybe I'm thinking this shit looks way better all blue and shit, but that's not, like, the artist's choice, if the artist-dude wanted more blue he woulda used more blue, unless he ran out of blue and couldn't afford to get any more, painters used to be really poor back then.
And sometimes the producer is just an asshole, and everything is too loud because everyone wants shit loud, and he's too coked up to realize it's sounding like a fucking vacuum machine. And it's not even like Acid Trance Garage Electro Clash, where a vacuum cleaner might make sense, but it's maybe Norwegian Gore-grind Death Metal, and now you can't even tell that the drummer is playing three kick-drums, because, like, the maid's right there, vacuuming and shit.
I kinda get that, but then you get into what you are adding to the experience that the artist didn't intend and shit.
Like, the artists and producers mixed and EQ'ed and shit to the sound they heard from their studio monitors, and maybe now you can hear that crisp sha-ching of a hi-hat better, but maybe you're now hearing it more than intended and it's driving you nuts, like, why the fuck is that hi-hat like that, it's bugging the shit out of me, but it wasn't that way when it was on the studio monitors, technology is now, like, ear-fucking you and shit.
There was a lot of music back in the day that was mixed for mono, but then they would half-ass a stereo mix because some people were starting to buy stereos then. And the mono mixes usually kicked ass, because that was how they intended them to be heard, they wanted the sound to get all smooshed and shit, and then the stereo mix would have the drummer way over on the left and it would be like, why is the drummer way over there?
Because I could walk through a fancy art museum wearing blue glasses, and maybe I'm thinking this shit looks way better all blue and shit, but that's not, like, the artist's choice, if the artist-dude wanted more blue he woulda used more blue, unless he ran out of blue and couldn't afford to get any more, painters used to be really poor back then.
And sometimes the producer is just an asshole, and everything is too loud because everyone wants shit loud, and he's too coked up to realize it's sounding like a fucking vacuum machine. And it's not even like Acid Trance Garage Electro Clash, where a vacuum cleaner might make sense, but it's maybe Norwegian Gore-grind Death Metal, and now you can't even tell that the drummer is playing three kick-drums, because, like, the maid's right there, vacuuming and shit.
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