Badly Mixed But Still a Hit - What Does That Mean?

[Skytouch]

Originally Posted by Ben Jenssen

I've been noticing also how often I hear flaws of various sorts in the old analog productions; small performance mistakes, noticable corrections in the mix mid song etc. I don't remember percieving it like that in the old days, I guess we're more used to perfection today.

I agree with you that many great 70s tracks transcended the need for perfection. On the Cricklewood Green (1970) LP by Ten Years After, the song Working on the Road has an interesting glitch around 0:50. For less than a second the tempo slows then comes back up - as if someone hit the wrong button on the tape transport during tracking. Alvin Lee notes that the album was tracked in frequency bands rather than individual instruments, suggesting a live performance that would have been difficult to re-capture. This glitch is minor and certainly does not detract from a stellar 70s production.

Today's Bedroom Pop genre demonstrates the effects of economics on production imho. Rather than struggle to achieve professional studio sound in a cramped apartment, simply write a good song and lean into the technical limitations of a small square room, headphones and affordable prosumer gear on the desktop. Then distribute indepdndnetnly via social media and see what happens.

Sky

[Ben Jenssen]

Originally Posted by Skytouch

I agree with you that many great 70s tracks transcended the need for perfection.

But I didn't really say that. I said we (I) notice imperfection in older material more now, perhaps because we're used to perfection.

[Skytouch]

Originally Posted by Ben Jenssen

But I didn't really say that. I said we (I) notice imperfection in older material more now, perhaps because we're used to perfection.

Ahh, sorry about that.

For me many of the old tracks sounded great in their historical context. Occasionally something would stand out, like one Utopia album that sounded harsh on my inexpensive stereo.

I’ve just had an interesting experience in this regard. On YouTube, Hindley Street Country Club has posted an excellent live performance and production of a classic Earth, Wind & Fire song that was one of my favorites in the 70s. I recalled how the original really sparkles and went back to listen to it, and was surprised by how it “sparkles” (whatever that means) perhaps less than I remember. Still excellent, and hats off to HSCC for their remake.

Sky

[nednednerb]

Originally Posted by Skytouch

Ahh, sorry about that.

For me many of the old tracks sounded great in their historical context. Occasionally something would stand out, like one Utopia album that sounded harsh on my inexpensive stereo.

I’ve just had an interesting experience in this regard. On YouTube, Hindley Street Country Club has posted an excellent live performance and production of a classic Earth, Wind & Fire song that was one of my favorites in the 70s. I recalled how the original really sparkles and went back to listen to it, and was surprised by how it “sparkles” (whatever that means) perhaps less than I remember. Still excellent, and hats off to HSCC for their remake.

Sky

"Historical context" of music reproduction is super interesting I think, especially regarding the (very great) increase in the trend to not "over compress" audio material. People speak of "headroom" and not "pushing it to clipping" and one person I knew talked about "sound sausage" basically 1990s+ not great mastering, through the "loudness war" and beyond...

In 1970, many at home were listening on radio that played on analog speakers, and transmitted vinyl or tape maybe by the station, or they listened at home on vinyl often.

With vinyl reproduction, "0 dBFS clipping digital distortion" by way of analogy is when the needle jumps out of the groove because the "level" or a "transient" knocked it out. Basically, the height of the needle from "centre of the waveform" is related to volume, and the program material imprinted on the vinyl literally has warm, nice, analog headroom with great bass, but more dynamic through whole mixes than most of the electronic music made past 2000 and crammed through a limiter to "make it louder".

Now there is something else happening as the purpose of "mastering" or "mixing" shifts further from loudness to other domains of quality, which I like a lot!

One last note: literally listening to that album often might have affected the playback today. It's well worn