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Radiohead - A Moon Shaped Pool

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Pretty funny to see people discussing album mastering and production here.

 

As i've mentioned before, EVERYTHING Radiohead does is methodical, exacting, intentional.

The sound and production of this album sounds the way it does because that's what they want.

 

Yes, there's peaking on certain parts throughout the album, it's very subtle but it's something musicians or audiophiles will notice.

But it's intentional. That sorta thing doesn't just happen by accident without anyone noticing.

 

Also, mastering is the FINAL polish on a mix.  The mix has to be great from the start, period.  Mastering doesn't make it good or better.

It's just a final polish.  If your mix is bad then the mastering will just be polishing a turd, it'll be magnifying the flaws of the bad mix.

 

Anyway, the record sounds the way the band wants. Maybe it's symbolic to the themes of the album.

I mean, they're sending pieces of slowly decaying tape along with the special edition package.

Remember the newspaper TKOL thing?  They also specifically mention how it will slowly decay no matter how you store it.

 

Perhaps they're commenting on death.

Esoteric theories aside, they also recorded this album using old technology, they tried a different, more old school sound.

 

Listen to classic records from the 60's.  LOTS of peaking.  Anything from Zeppelin to The Beatles, there's all kinds of idiosyncrasies and noise in the recordings.

Radiohead wanted to explore that.

 

Who cares?   Shit, look at Spectre- at the end when his vocals fade in that wash of reverb, there's blatant peaking/distortion going on. They left it in there though.

My point is, this is what they wanted.  Audiophiles can spend hours arguing over such minute, cork-sniffing details but they're missing the point.

Just enjoy the album, it's art, no need to get caught up in production.

I'm a musician myself and i admit i do listen to albums differently because i know what goes into a final mix and mastering and compression, etc but ultimately it's not about that.

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I doubt it. Sounds great through my Kef speakers and great through my PSB earphones and Sennheiser headphones.

 

If vocals sound distorted, the odds are massively stacked they are meant to sound that way. This is Radiohead, not some debut album by a bunch of kids.

 

Can you give me an example?

What's the point? You've obviously made up your mind. There's already been a shit tonne of discussion about this so how about you read that instead? At this point it seems to be like you're just trolling.

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Correction its at 0:21, LEFT ear.  There's no break in the music just his vocals.  So weird.  Or maybe its the drum at that exact moment fucking with me.  OMG what am I doing who cares lol

 

 

yeah, there's no gap in his vocals.

it's just the mix of the other instruments coming in.

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Listen to classic records from the 60's.  LOTS of peaking.  Anything from Zeppelin to The Beatles, there's all kinds of idiosyncrasies and noise in the recordings.

Radiohead wanted to explore that.

 

 

 

Yes there is a lot of this going on in AMSP... there is some wonderful analogue grime and distortion which truly adds to the sound. The stuff some of us are talking about has nothing to do with that and is just over-cooked digital shit... opps didn't I say I was done?  :yeah:

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Honestly, I'm glad that the main problem people have with this album is the mastering. When TKOL came out it proved to be pretty controversial and a lot of people, myself included, really took against it. It seems like this time round the vast majority are very positive about the album, and outside of a bit of muddiness in the master I'd say it's a huge success.

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Honestly, I'm glad that the main problem people have with this album is the mastering. When TKOL came out it proved to be pretty controversial and a lot of people, myself included, really took against it. It seems like this time round the vast majority are very positive about the album, and outside of a bit of muddiness in the master I'd say it's a huge success.

yeah it's a really fucking good album

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Honestly, I'm glad that the main problem people have with this album is the mastering. When TKOL came out it proved to be pretty controversial and a lot of people, myself included, really took against it. It seems like this time round the vast majority are very positive about the album, and outside of a bit of muddiness in the master I'd say it's a huge success.

And the people who don't like it are leaving.

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I haven't heard any examples of "over-cooked digital shit".

 

The only thing i've found muddy is the production of Spectre.

THAT mix sounds off to my ears.

I thought that now that it's on iTunes to purchase that perhaps it'd sound better but it sounds the same.

 

 

I like the sound overall though on A Moon Shaped Pool.

It's different, it stands on it's own and the production is refreshingly different from their other albums.

 

That said, i'd have to say In Rainbows and particularly In Rainbows Disk 2 has in my opinion their finest production sound.

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A think I really love about this album is that, with pretty much every album since The Bends, there's been some song on there which people could call 'filler' - Fitter Happier, Treefingers, Hunting Bears, I Will, Faust Arp, Feral - with the exception of Fitter Happier, I love all of those tracks, but I'm glad that the boring debate presumably won't happen with this album. I mean Glass Eyes is the shortest song and it's staggeringly beautiful and doesn't feel like filler at all.

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Really, I felt like glass eyes is basically the Faust arp of this album (which is not a bad thing).

 

I feel like this album draws a clear line between the first half that culminated with ful stop and the second that kicks off with identikit

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I noticed the fuzz but just assumed it was intentional, and remembered reading stuff about them using new 'old' recording methods. It's like the opposite of TKOL's clinical precision. Every RH album has a very distinct sound and this is obviously what they were going for with this one, they're not amateurs.

 

On the first couple of listens I found it okay at first but quite irritating by the last few songs. But now i really don't mind. It's part of the album's overall ambiance.

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A think I really love about this album is that, with pretty much every album since The Bends, there's been some song on there which people could call 'filler' - Fitter Happier, Treefingers, Hunting Bears, I Will, Faust Arp, Feral - with the exception of Fitter Happier, I love all of those tracks, but I'm glad that the boring debate presumably won't happen with this album. I mean Glass Eyes is the shortest song and it's staggeringly beautiful and doesn't feel like filler at all.

How fucking dare you call Faust Arp filler?

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Well, I think a lot of the fuzz *is* intentional. As others have pointed out, it's got a very old fashioned feel to the production. The piano in The Numbers, the guitars at the end of Dips Daps, alla that stuff is supposed to be overdriven I think.

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How fucking dare you call Faust Arp filler?

 

It's not filler, but it's pretty fucking weak compared to the rest of the album as a stand alone track. But it works great as a kind of transition piece within the context of the album. And the ONLY reason I kind of wanted to see it live in 08 was to see if they would fuck it up, which they did in like half the shows I saw. 

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How fucking dare you call Faust Arp filler?

 

Faust arp was my absolute fav when I was like 14 and I heard in rainbows for the first time. Nowadays it sounds like an amateurish attempt at a beatles like acoustic thing that has already been done a squillion times before. 

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