looking for a collab to a bit of Gallows pole

[thetworegs]

Loving the live sound of both of these takes thanks gents ....I still have a take that Ken did that I haven't had a chance to put up yet as I haven't been able to get into the cellar for a while because of the building work I've been having done hopefully I'll be back in there in the beginning part of the new year

[hardlock]

Here's my bass and drum added mix using the 1st post on this thread. Was waiting to get the original WAV stems for less distortion in the 2nd half of the song. Wanted mine to be the "studio" version. 

Also someone should add a taste of ripping lead in there somewhere as well? 

[StephenM]

Listening to Mike H's adds to The two regs....I bloody love it...sounds like a long lost Zep track... great job.... will report on the other two as I listen...glad i dug this up...I need to get to the colab more often

[StephenM]

I listened to Ken's adds and I thought I wow I really dig this alot...great scott... so I took the track and ran it through the LANDR mastering software just to see what would happen... it's like a further polish...
otherwise untouched...
killer bass work and drums to go along with that great guitar and vocals... love it.

[hardlock]

Hey Steven, this is a good chance for me to compare what LANDR does to a file.

I first compared my posted track with yours in figure 1. Next I tried to replicate your's by tweaking mine. Tried lots of things like normalizing and such but seems like it's mostly adding compression.

Figure 2 shows mine with 3 repeated compressions using the stock setting in Audacity. To get the clipping yours has I had to bump the gain a few DBs but prefer not entering the possible distortion.

Interesting test. If you look close you'll see that different frequencies are effected by the modifications done to both. I'm sure I haven't a clue what I'm talking about when it comes to the tricks used to turn a track into a brick w/o it sounding like one! 

[StephenM]

Interesting stuff Ken... to be fair to Landr, and personally I like what they do, not certain about this one though, generally tracks sent to them would be mixed no higher than -4dbu and preferably -6 at most.  I have tested quite a few mixes through them and the ones that I didn't pay enough attention to "gain staging" with get sounding squashed and over compressed.  There's been a few that I have sent that were already "mastered" or were mixed to high and Landr software rejected them.
I know that I have -30db hearing loss on certain frequencies so I am sure that what I hear and others do likely aren't the same. 
for me in this case I like the result and didn't really hear any distortion added but that doesn't mean there isn't...
I do pay about a hundred a year to subscribe to get "free" masters from Landr but I probably do several hundred tracks a year as I work on some others music as well...

[Zoltan]

I think it really depends on what kind of track you're feeding to Landr. The less there's limiting & compression (and heavy "master" EQ) the better the results will be. The same applies to most of these "one stop shop" -solutions like Ozone. I once tried LANDR with a track that i had already done, and the end results weren't pretty. But i didn't expect anything else, i just wanted to see if there was something magical happening.
Overall i think the same principle applies here as if one was going to send the track for mastering. The track should be mixed, but it should not be mastered if one wants to use things like LANDR. So all the heavy lifting on the stereo track is best left for LANDR to handle. If one is able to make a great mix then the mastering part is just a small final touch up (with some potential fairy dust + adjusting the level etc).

The original track on this topic is already crushed to pieces. It sounds great, but the whole left channel is almost straight block. All the transients are cut of. I'm not sure if what we're hearing is the intentional guitar distortion as an effect, or if it's digital clipping. I kinda like the sound regardless. This brings it to the level of Iggy Pop remaster of the Gimme Danger album in the 90's. The master that's both loved and reviled I like it because there's some additional guitar stuff + grunts that's missing from the Bowie mix.

I'm not sure if Ken worked with the separate tracks (that weren't crushed?), but no amount of bringing the levels down will help with the damage that's already been done. But you can add more of it (LANDR ).

Also i'm not sure how this comes off so i have to remind that i'm the MASTER of CRUSHING my tracks. I'm trying not to, but sometimes that's the only solution

[StephenM]

I used the "mastering" software on the Boss BR1600....for a while and it does help... this is a good discussion but after reading alot about the idea of "gain staging" on posts here on SC and reading more on the net in various places I really have backed way down on the levels during track recording and mixing.  I grew up in the analog tape era where you tried to get as high a level recorded as possible without saturating the tape to overcome the noise floor... digital recording this is not a good idea as mentioned due to compression....
I try and read about this but sometimes my brain goes numb... so I try and incorporate the best practices I know.... not all my recordings are as good as others etc but they are getting better than (way better) when I first started on here...
One thing I know, I can never figure out how Tim Greene gets the kind of sounds he does off the MBR...his finishes are so good.
I am not that picky but some recordings are better than others to my ears...doesn't mean I like the song that much but I do like to hear a great recording... Keep up the good work Ken and Zoltan... and you can't go wrong every working with Trevor