Anyone notice that the radio version and mp3 of 'Vertigo' sound flat?

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Okay, so I got the Promo CD in the mail today.

It sounds the same to me, but then again I don't think I exactly have a very trained ear.

All I can say if I play them both (the Valencia version and the Promo CD) at the same volume level the Valencia version is louder.

For whatever that's worth.
 
PowerSurge said:
You guys absolutely nailed what I couldn't figure out for quite sometime now.

Is this why some U2 albums just sound better in their mixing than others?

Well there is another HUGE factor to take into consideration which is analog recording vs digital. All U2 albums were tracked (that means each instrument being recorded with a mic or direct) through analog tape machines. Achtung Baby and POP were no exception but they were then dumped after tracking into a digital workstation to mix them. The beauty of this is you can get the warmth of analog tape and the ease of mixing in a digital computer. All albums prior to those including JT were recorded in all analog including mixing.

Then in 1998 U2 discovered a digtial machine called the RADAR and it is the closest digital has come to capturing the warmth of analog and they used this to record Sweetest Thing.

They liked it so much they used it to record ATYCLB so in other words that album was recorded in complete digital as opposed to all their other albums before. I went to music recording school for 2 years in the early 90's and we used a Studer 2" analog tape machine and trust me the sonic quality of that kind of machine is very difficult to get with ProTools or any digital machine especially when recording distortion guitar.

Digital has gotten a lot better over the past few years but i find that a lot of songs I hear these days are very compressed sounding (as if all the stuff is squished into a tiny rectangular box, and all the space around the rectangular box is empty, leaving us feeling empty) My theory is that analog tape is capturing harmonics that whether we can hear them consciencally or not is just not getting captured by digital yet, which is why so many songs these days leave you feeling empty and just not satisfied. It's like then you eat at McDonalds and you feel hungry one hour later and your like wtf ?!?

Digital right now is at 24bit, 192 khz and 10 years ago when i rented an Alesis ADAT 8 track machine it was at just 18 bit 44khz or 48khz, so things have gone up dramatically and i do think digital will become as good as analog in the next 5-10 years but one of the reasons i don't really like ATYCLB is because listening to many of the songs that i actually like live sound empty on the cd.
 
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ramblin rose said:
Okay, so I got the Promo CD in the mail today.

It sounds the same to me, but then again I don't think I exactly have a very trained ear.

All I can say if I play them both (the Valencia version and the Promo CD) at the same volume level the Valencia version is louder.

For whatever that's worth.

Kind of confirms what we know, radio compress the shit out of songs.

:|
 
EvolutionMonkey said:


Well there is another HUGE factor to take into consideration which is analog recording vs digital. All U2 albums were tracked (that means each instrument being recorded with a mic or direct) through analog tape machines. Achtung Baby and POP were no exception but they were then dumped after tracking into a digital workstation to mix them. The beauty of this is you can get the warmth of analog tape and the ease of mixing in a digital computer. All albums prior to those including JT were recorded in all analog including mixing.

Then in 1998 U2 discovered a digtial machine called the RADAR and it is the closest digital has come to capturing the warmth of analog and they used this to record Sweetest Thing.

They liked it so much they used it to record ATYCLB so in other words that album was recorded in complete digital as opposed to all their other albums before. I went to music recording school for 2 years in the early 90's and we used a Studer 2" analog tape machine and trust me the sonic quality of that kind of machine is very difficult to get with ProTools or any digital machine especially when recording distortion.

Digital has gotten a lot better over the past few years but i find that a lot of songs I hear these days are very compressed sounding (as if all the stuff is squished into a tiny rectangular box, and all the space around the rectangular box is empty, leaving us feeling empty) My theory is that analog tape is capturing harmonics that whether we can hear them consciencally or not is just not getting captured by digital yet, which is why so many songs these days leave you feeling empty and just not satisfied. It's like then you eat at McDonalds and you feel hungry one hour later and your like wtf ?!?

Digital right now is at 24bit, 192 khz and 10 years ago when i rented an Alesis ADAT 8 track machine it was at just 16 bit 44khz or 48khz, so things have gone up dramatically and i do think digital will become as good as analog in the next 5-10 years but one of the reasons i don't really like ATYCLB is because listening to many of the songs that i actually like live sound empty on the cd.

RADAR is/was 24bit 48kHz is it not?

I totally agree with you. Trouble is, a pro tools rig is just soooo convenient. I would argue it is too convenient. When I was recording recently with Gil Norton (Producer of Pixies,Foo Fighters,Feeder) The number of drop-ins we ended up doing was rediculous because it was so easy. Also we had an engineer slicing up our drummer's take basically turning him into a human drum machine, litterally it took him 2 days to go through and chop up EVERY single drum hit/cymbal smash etc.. The end result lacked a human touch. I would also argue that recording at 24 bit 192kHz is scientifically a more accurate recording than any tape machine BUT I think tape adds something. I heard Flood refuses to record on anything else.


Would UF or JT be as warm recorded on RADAR? I doubt it.
 
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TC2290 said:


RADAR is/was 24bit 48kHz is it not?

I totally agree with you. Trouble is, a pro tools rig is just soooo convenient. I would argue it is too convenient. When I was recording recently with Gil Norton (Producer of Pixies,Foo Fighters,Feeder) The number of drop-ins we ended up doing was rediculous because it was so easy. Also we had an engineer slicing up our drummer's take basically turning him into a human drum machine, litterally it took him 2 days to go through and chop up EVERY single drum hit/cymbal smash etc.. The end result lacked a human touch. I would also argue that recording at 24 bit 192kHz is scientifically a more accurate recording than any tape maching BUT I think tape adds something. I heard Flood refuses to record on anything else.


Would UF or JT be as warm recorded on RADAR? I doubt it.

Yeah RADAR has a 24 bit 48khz and also one with 96khz and now they have one called Nyquist which is 192khz :eek: The biggest factor in quality is to do with the bits more than the sampling rate. 24 bits compared to 16 is light years ahead but 192khz is not as much of a difference over 96khz but 96khz over 48khz is a big difference. I totally am for mixing digitally for all the reasons you said but when i make my album next year it will be tracked in analog without a doubt and then mixed digitally.

I shudder to think what JT would sound like if it was recorded in complete digital. When you hear all the instruments and Bono's voice going from whispers to all out pandamonium (EXIT) this is something i just don't think can be captured like that was on JT if it were done today thru all out digital means.

Hey TC2290 i like your name ;) I myself have a Korg SDD 1000, i want to get a SDD 3000 but apparently Edge has horded all of them and is hiding them in his closet. :lmao:
 
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EvolutionMonkey said:



Hey TC2290 i like your name ;) I myself have a Korg SDD 1000, i want to get a SDD 3000 but apparently Edge has horded all of them and is hiding them in his closet. :lmao:

:drool:


korg%20sdd3000.jpg



:drool:

(I have one of these by the way!) :tongue:

Totally agree with what you said as well.:
 
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Perhaps there will be a 5th vesion of the album known as the 'losslessly mastered' version.:huh:
 
PowerSurge said:
You guys absolutely nailed what I couldn't figure out for quite sometime now.

Is this why some U2 albums just sound better in their mixing than others?

There are different technologies and techniques at use over the course of their career, but I don't think I've ever seen this in their recordings before.
 
Maybe this is the reason for my complaints about Bono's voice sounding as if he was being drowned out, which is very unlike U2. Even after hearing it today on the radio my brother said there must be a cleaner version on the album. God I hope so.
 
elfyx said:


There are different technologies and techniques at use over the course of their career, but I don't think I've ever seen this in their recordings before.

I'm a novice when it comes to the technical side of this, but I am a little bit aware of the early days of music...I think. What I'm not aware is why does POP sound better than A-Baby, Zooropa, AND ATYCLB? Does anyone else think this is true? I'm not talking about the songs/content, I'm talking flat sound. (Of course the hiccups and small mess ups here and there are a pain, but in general its better sounding)
 
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