Yax
Ancient Mariner
Listened a bit to Gates of Tomorrow. You should scoop 2 khz a bit on the master bus. Depending on what EQ you use that is. Waves Q10 parametric - 3-4 dB, bandwidth around 7-10. It's just a bit too much 2 khz, most audible on the vocals, but a bit on the guitars as well. Otherwise, pretty cool!
And Cornfed Hick: Remember what I told you about DM? It wasn't the Mastering Engineer who compressed them to hell to the point of distortion. They were heavily distorted when he received the stems, to the extent that he didn't even want to be credited on the album for it - He didn't want it to be affiliated with it (why on earth didn't he turn it down then?). There isn't any other plausible explanation either (yet the notion that a well known mastering engineer would accept to work with distorted stems such as those, is objectionable as well) GH on the other hand, had other, undistorted stems, brought to them.
My favorite Shirley effort is BNW. AMOLAD can, in my opinion, be slightly boomy in the 140-200 hz area (Harris' bass guitar), which is all too noticable in systems that overreproduce this frequency area, but otherwise excellent.
And Cornfed Hick: Remember what I told you about DM? It wasn't the Mastering Engineer who compressed them to hell to the point of distortion. They were heavily distorted when he received the stems, to the extent that he didn't even want to be credited on the album for it - He didn't want it to be affiliated with it (why on earth didn't he turn it down then?). There isn't any other plausible explanation either (yet the notion that a well known mastering engineer would accept to work with distorted stems such as those, is objectionable as well) GH on the other hand, had other, undistorted stems, brought to them.
My favorite Shirley effort is BNW. AMOLAD can, in my opinion, be slightly boomy in the 140-200 hz area (Harris' bass guitar), which is all too noticable in systems that overreproduce this frequency area, but otherwise excellent.