Re: Restoring transients/loud parts on loud recordings, my method Reply #25 – 2017-02-07 15:55:28 Hi,Interesting idea. I certainly don't want to put dampeners on your enthusiasm with this project. I am hearing a little increase in distortion/artefacts in the processed tracks. I am matching level for the vocal only, ignoring everything else, and have turned down your "coolerthanme" processed version by another 2dB. The processed/unprocessed sound closer then.A lot of the modern production techniques are not just about mastering but start really from the point after recording (and sometimes before but less so). So much layered mangling happens now that it's a wonder there is anything left that is sonicly pleasing. There must be at least 4 passes of dynamics processing before it gets to the mastering engineers now.As much as I really can't be bothered with vinyl and am kinda biased against it as a medium because of it's limitations over a digital release that has been recorded and processed digitally, it would seem that some material has just been produced/mixed and obviously mastered differently for that medium. Thus to get under the blanket of hyped mid range and brutal transient destruction, vinyl releases can sometimes provide the answer. Of course, in an ideal world, they'd put out two digital releases, one done 'properly' with no concern for loudness as a target, and another doing whatever they think they 'must' to sell it, in an mp3 or something 'cause frankly it probably doesn't matter after they butcher it.No intention to steer off topic. No attempt to start Vinyl vs. CD, or digital vs. analogue debates.