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That thing sure is fancy looking, but I actually have a fairly extensive setup. As anyone who has played online video games with me (Killing Floor, TF2), I'm prone to shouting at my teammates and I use an analogue compressor to keep my tirades from clipping the inputs on my USB ADC.

Justin, you captured the essence of the meet so well....

Listened to Blue Train and Midnight Blue on Music Matters 33 rpm and it was glorious to flip them once each rather than three times each for the 45 rpm series. Sound is fantastic.

Fuckers. Or. Cunts.

Why don't you just paste the Internet into this thread?

I think brick walling has actually turned into a team effort. Pop mixes are baked from the ground up to have no dynamics. My current favorite example is the new Pharell Williams album. You can hear that every track in every mix was compressed into a block of sound. It has a very different quality to it from dynamic source recordings that got smashed in mastering. Those always have a lot of distracting artifacts from quiet & loud relationships getting distorted. On rare occasions, I master an album. Assuming the mixes were at least moderately competent to begin with, I do very little. I'll add a touch of EQ if there's a bump to tame. Maybe I'll need to change the relative volume of one song, or add/remove space at the end of another. That's it. My goal is basically to not fuck up what was given to me. It really shouldn't be hard to make "audiophile" versions of recordings. And for old stuff on tape, they can do strait transfers and call it done. It's a perfect chance for those in the studio to sip some coffee. Just don't ever pay money for an "audiophile" version of Pharrell's album. It won't be any different.

I will go with "they are douches" for now, however there will probably be some fantastic audiophile recordings no one wants to listen to Sent from my iPhone using Tapatalk

Daniel Tiger.