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54 Кб, 770x770
Lulu 16 фев, 04:07 1586241 В конец треда | Веб

>20 лет фанаты ноют о попсовости и продажности группы
>группа зовёт на помощь одного из знаковых экспериментаторов в истории музыки
>вместе они записывают мощное авангардное полотно с концептуальной лирикой и диссонансными нойзово-сладжевыми риффами
>кококо верните штангер и блэк албум

Ответы62676428

sage 2 16 фев, 09:12 2 1586267

>>1586241 (OP)

Ну так если штангер это их потолок (ничего лучше они так и не сподобились записать), а с авангардом у них не клеится, то хули поделаешь?

Ответы6527

3 16 фев, 20:18 3 1586428

>>1586241 (OP)
Какой ещё блэк альбум, мастер оф пупетс!

326 Кб, 1000x1000
4 17 фев, 01:44 4 1586519

>мощное авангардное полотно с концептуальной лирикой
ни одного, ни другого. сам придумал только что?
>нойзово-сладжевыми риффами
альбом на два-три прослушивания.
имхо, вершина пик.
фанатс15летнимстажем

Ответы65276538

5 17 фев, 02:38 5 1586527

>>1586519
вдогонку
>>1586267
какие к ебеням штангер и лулу (это вообще позор). Историю учи!
https://youtube.com/watch?v=IjjCp_QU5Qk

Ответы6589

6 17 фев, 06:49 6 1586538

>>1586519
>пик
Претенциозная и затянутая параша с неприятным, высушенным звуком по причине срезанного баса, который по прошествии 30 лет так и не вернули на место. Годных трека всего три: Blackened, One и To live is to die. Все остальные унылая тягомотина с повторяющимися по 100500 раз риффами. Пример того как говнари попытались в прог, но не смогли. Чисто технически это их самая сильная работа, да.

Ответы6577658766666793

sage 7 17 фев, 06:53 7 1586541

Кто это говно слушает? Школьники вы ебанулись?

8 17 фев, 12:06 8 1586577

>>1586538
В целом ты прав. Все же лучше Магнетика и Хардвайред.
А причем здесь школьники? У группы всегда была огромная аудитория самых разных аозрастов, от школьников до пожилых дядек лет шестидесяти.

sage 9 17 фев, 13:10 9 1586587

>>1586538

>который по прошествии 30 лет так и не вернули на место.

Так его уже нельзя вернуть.

https://www.ultimate-guitar.com/news/interviews/steve_thompson_when_lars_asked_me_what_happened_to_the_bass_in__justice_i_wanted_to_cold_cock_him.html

When you mixed the tracks for Metallica's "...And Justice For All" album in 1988, was that a totally different experience than working on the "Appetite For Destruction" record?

Well, what I wanted to do and what Lars wanted to do was totally different, which kind of upset me a little bit. I loved Metallica and was very familiar with them. I said, "These guys are cool." We got the call to do it and went up to Bearsville Studios in upstate New York and the guys were on the Monsters of Rock Tour at the time. So what they would do is fly in by helicopter, a day here and a day there just to go through things.

Did the band know what kind of album they wanted to make and what they wanted it to sound like?

Lars knew exactly the sound and the parameters of everything he wanted on his drums. So he would actually bring his photos of a Klark Teknik's EQ [parametric equalizer] setup because he had a certain way he wanted the drums to sound. I said, "Michael [Barbiero], why don't you work with Lars and get the drum sound he's looking for? Call me when he's happy."

What did you think when you finally heard them?

They called me in and I listened to them and I said to myself, "These sound like a-s. Terrible sounding." I chased everybody out of the room and redesigned the drum sound and brought the guitars up. Jason [Newsted] killed it on bass. Perfect marriage with Hetfield's guitars.

Tell me about some of the gear you used with Metallica?

We mixed the album at Bearsville Studios in New York. The console was an SSL G Series with Ultimation. We used Neve EQs; Pultec EQP and MEQs; AMS delays and reverbs; and we used Lexicon on drums. All the Pultec LA2A and LA3As. Mixdown was definitely 48-tracks so there were two Studer multi-track machines and quite possibly they were A800 machines. We used a Studer A80 1" for mixdown at 30ips. When Lars recorded the drums, he used a Clark Tekniks EQ parametric.

Was James happy with what you were doing?

I'm putting all the other stuff up and everything like this and Hetfield gives a thumbs up. Lars comes walking in a couple minutes later and listens to about a minute of it and goes, "Turn that off" and I said, "What's the problem?" He said, "What happened to my drum sound?" I said, "You were serious?" or something like that.

Lars was not happy?

We had to get the drum sound up the way he had it. I wasn't a fan of it. So now he goes, "See the bass guitar?" and I said, "Yeah, great part, man. He killed it." He said, "I want you to bring down the bass where you can barely, audibly hear it in the mix." I said, "You're kidding. Right?"

He wasn't kidding?

He said, "No. Bring it down." I bring it down to that level and he says, "Now drop it down another 5 db." I turned around and looked at Hetfield and said, "He's serious?" It just blew me away.

What did you do?

I called my manager that night and I think I talked to Cliff Burnstein and Peter Mensch [Metallica's managers] and said, "I love these guys. I think they're amazing and they've created a genre of their own but I do not agree with the direction Lars is pulling me in. My name's gonna go on it so why don't you find somebody else?" My manager wouldn't have anything to do with that or Burnstein or Mensch.

But you were ready to walk away from mixing Metallica?

They talked me into being there and my only regret is that we didn't have enough time to at least mix it the way we heard it. I wanted to take "Master of Puppets" and blow that away. That was my sonic direction for "... And Justice For All." It was all there but I think they were looking for more garagey-type sound without bass. And the bass was great; it was perfect. I remember when Metallica got elected to the Hall of Fame, they flew us out and I'm sitting with Lars.

Did you talk to him?

He goes, "Hey, what happened to the bass in "... Justice?" He actually asked me that. I wanted to cold cock him right there. It was a shame because I'm the one getting the sh-t for the lack of bass.

Пичалька.

sage 9 17 фев, 13:10 9 1586587

>>1586538

>который по прошествии 30 лет так и не вернули на место.

Так его уже нельзя вернуть.

https://www.ultimate-guitar.com/news/interviews/steve_thompson_when_lars_asked_me_what_happened_to_the_bass_in__justice_i_wanted_to_cold_cock_him.html

When you mixed the tracks for Metallica's "...And Justice For All" album in 1988, was that a totally different experience than working on the "Appetite For Destruction" record?

Well, what I wanted to do and what Lars wanted to do was totally different, which kind of upset me a little bit. I loved Metallica and was very familiar with them. I said, "These guys are cool." We got the call to do it and went up to Bearsville Studios in upstate New York and the guys were on the Monsters of Rock Tour at the time. So what they would do is fly in by helicopter, a day here and a day there just to go through things.

Did the band know what kind of album they wanted to make and what they wanted it to sound like?

Lars knew exactly the sound and the parameters of everything he wanted on his drums. So he would actually bring his photos of a Klark Teknik's EQ [parametric equalizer] setup because he had a certain way he wanted the drums to sound. I said, "Michael [Barbiero], why don't you work with Lars and get the drum sound he's looking for? Call me when he's happy."

What did you think when you finally heard them?

They called me in and I listened to them and I said to myself, "These sound like a-s. Terrible sounding." I chased everybody out of the room and redesigned the drum sound and brought the guitars up. Jason [Newsted] killed it on bass. Perfect marriage with Hetfield's guitars.

Tell me about some of the gear you used with Metallica?

We mixed the album at Bearsville Studios in New York. The console was an SSL G Series with Ultimation. We used Neve EQs; Pultec EQP and MEQs; AMS delays and reverbs; and we used Lexicon on drums. All the Pultec LA2A and LA3As. Mixdown was definitely 48-tracks so there were two Studer multi-track machines and quite possibly they were A800 machines. We used a Studer A80 1" for mixdown at 30ips. When Lars recorded the drums, he used a Clark Tekniks EQ parametric.

Was James happy with what you were doing?

I'm putting all the other stuff up and everything like this and Hetfield gives a thumbs up. Lars comes walking in a couple minutes later and listens to about a minute of it and goes, "Turn that off" and I said, "What's the problem?" He said, "What happened to my drum sound?" I said, "You were serious?" or something like that.

Lars was not happy?

We had to get the drum sound up the way he had it. I wasn't a fan of it. So now he goes, "See the bass guitar?" and I said, "Yeah, great part, man. He killed it." He said, "I want you to bring down the bass where you can barely, audibly hear it in the mix." I said, "You're kidding. Right?"

He wasn't kidding?

He said, "No. Bring it down." I bring it down to that level and he says, "Now drop it down another 5 db." I turned around and looked at Hetfield and said, "He's serious?" It just blew me away.

What did you do?

I called my manager that night and I think I talked to Cliff Burnstein and Peter Mensch [Metallica's managers] and said, "I love these guys. I think they're amazing and they've created a genre of their own but I do not agree with the direction Lars is pulling me in. My name's gonna go on it so why don't you find somebody else?" My manager wouldn't have anything to do with that or Burnstein or Mensch.

But you were ready to walk away from mixing Metallica?

They talked me into being there and my only regret is that we didn't have enough time to at least mix it the way we heard it. I wanted to take "Master of Puppets" and blow that away. That was my sonic direction for "... And Justice For All." It was all there but I think they were looking for more garagey-type sound without bass. And the bass was great; it was perfect. I remember when Metallica got elected to the Hall of Fame, they flew us out and I'm sitting with Lars.

Did you talk to him?

He goes, "Hey, what happened to the bass in "... Justice?" He actually asked me that. I wanted to cold cock him right there. It was a shame because I'm the one getting the sh-t for the lack of bass.

Пичалька.

Показать весь текст
Ответы6762

sage 10 17 фев, 13:16 10 1586589

>>1586527

St anger - это их потолок. Там нет корявых гитарных соло, которые всегда раздражали - ну не умеешь, так не пили! А тут они нашли мужество отказаться от них, сделав акцент на риффы и заебенив неплохой nu-metal. Жаль только, что не пригласили рэппера, как собирались, по слухам, в самом начале. И барабаны нормально звучат, в конце-то концов, и бас слышно.

https://www.youtube.com/watch?v=3rFoGVkZ29w

Ответы6592

11 17 фев, 13:37 11 1586592

>>1586589
Ну насчет барабанов-да, ты прав. Он мне с момента выхода очень нравится. Если бы они сбацали еще олин альбом в таком же стиле, фанатская армия пополнилась бы вдвое. А дез магнетик как тебе? На нем ведь они к корням вернулись тогда в 2008м. Но критики и большая часть фанатского сообщества его тогда тоже не оценили. Эх.

Ответы6612

12 17 фев, 15:02 12 1586612

>>1586592

На дез магнетике они опять попытались в что-то типа прога, и опять не смогли. И запись опять запорота, только по-другому, не как на джастисе - перегружена так, что уходит в клиппинг.

1,4 Мб, 1694x1133
13 17 фев, 18:37 13 1586666

>>1586538
вижу, что господин сечёт фишку

14 17 фев, 20:44 14 1586684

https://www.youtube.com/watch?v=-A6Qr_hVG3k&t=161s

15 18 фев, 00:33 15 1586762

>>1586587
Ларс - мудак, это известный факт.

16 18 фев, 09:15 16 1586793

>>1586538
>Годных трека всего три: Blackened, One и To live is to die
Только эти три трека занимают ~23 минуты, что потянет на полноценную EP'шку.

Алсо, еще как минимум Harverter of Sorrow и Dyers Eve охуенные песни и их никак нельзя сбрасывать со счетов.
https://www.youtube.com/watch?v=orGPyViuXVE

Итого, только абсолютной годноты набирается на небольшой, но уже полноценный альбом.

17 19 фев, 20:52 17 1587267

При желании можно и на паршивых Load/Reload найти годные треки ("King Nothing", "The Memory Remains", "The Unforgiven II"). А после него были еще хорошие каверы на Garage, Inc ("Turn the Page", "Whiskey in the Jar", "Astronomy", "The Small Hours", "The Wait") и даже попытка реабилитации старых треков в симфонической обработке (плюс отличный "No Leaf Clover"). https://youtube.com/watch?v=URlQV21yXsM
>1586519кун

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