Nights of the Dead, Legacy of the Beast: Live in Mexico City (new live album)

Regarding the mix of Dance of Death, the final version was not the one Shirley actually intended.

Shirley gave Steve a special mix for him to play in his car on the way home, which he had cranked up the volume on, it was therefore full of clipping, Steve then wanted to go with that one as the final version.

The source is a now deleted interview from 2010 with Shirley, I wish that i had downloaded it.

Edit: I Saw now @jazz from hell remembers the same thing. It should be correct then. :)
 
Ruflux said:
a product they (presumably) bought and paid for
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I wouldn't presume that in this day and age. People were ready to go with the rants at the crack of dawn on Friday morning which doesn't sound like they paid for anything if you ask me. In fact people had already made their minds up weeks ago.
 
TheTalisman said:
Regarding the mix of Dance of Death, the final version was not the one Shirley actually intended.

Shirley gave Steve a special mix for him to play in his car on the way home, which he had cranked up the volume on, it was therefore full of clipping, Steve then wanted to go with that one as the final version.

The source is a now deleted interview from 2010 with Shirley, I wish that i had downloaded it.

Edit: I Saw now @jazz from hell remembers the same thing. It should be correct then. :)
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Playing mixes on shit bog standard equipment is not unusual to evaluate the final mix. Maybe @Yax can weigh in here as he seems to know what he's talking about, but as far as I know it's common enough practice to test how a mix sounds on shit ghetto blasters etc. as this is the sort of equipment that an average punter will be listening on. So Steve listening to a mix in his car is not some sort of scandal, despite how Maiden fans have been portraying it since 2003.
 
Using a number of different systems is a good and common practise. Things that sound great on the system you're mixing on might not reveal deficiencies other listening environments do, so you might back and forth a bit to make sure it translates well to other systems. Some classic monitors, like the NS-10, which at least in the old days, were the go-to monitors for mix, didn't really sound that great at all. But they were revealing, and the engineers learned to mix on it and knew the speakers inside and out. If you really know your system you can make good mixing decisions on them, even if they aren't perfect sounding.

As I remember it, Shirley took the mix and applied scratch mastering compression and limiting to it, so Steve could listen to it. Steve approved of the mix and they sent it out to mastering. They got it back and the engineer had attempted to fix what he thought was wrong with the mix. Steve basically said "this isn't our mix!" and decided they should go with the car scratch master.
 
srfc said:
I wouldn't presume that in this day and age. People were ready to go with the rants at the crack of dawn on Friday morning which doesn't sound like they paid for anything if you ask me. In fact people had already made their minds up weeks ago.
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So, are the concepts of digital distribution and streaming services somehow foreign to you? Or are you just assuming everyone who doesn't like the album must be a pirate who only wants to complain about free shit? Because that's a pretty hefty accusation to just throw around like that. Especially considering the whole album is listenable in most of the world legitimately for free (with ads, note) on YouTube.

e: I realize you'll probably want to hang on to that whole streaming services bit as being contradictory to somebody buying a product, but at the end of the day most listeners will either pay for it directly by purchasing it in digital or physical form or indirectly through ads or a subscription.
 
Ruflux said:
So, are the concepts of digital distribution and streaming services somehow foreign to you? Or are you just assuming everyone who doesn't like the album must be a pirate who only wants to complain about free shit? Because that's a pretty hefty accusation to just throw around like that. Especially considering the whole album is listenable in most of the world legitimately for free (with ads, note) on YouTube.

e: I realize you'll probably want to hang on to that whole streaming services bit as being contradictory to somebody buying a product, but at the end of the day most listeners will either pay for it directly by purchasing it in digital or physical form or indirectly through ads or a subscription.
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Fair enough, people are entitled to their 2 cents, although I believe now with spotify it's only $0.003.
 
srfc said:
Sending complaints to Steve Harris wouldn't even be the right thing to do. Certainly harassing his nephew would be psychotic.
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I was originally going to contact Steve, to tell his daughter Lauren, to reach out to her ex. guitarist Ritchie Faulkner, to tell him to ask Rob Halford to talk to Glenn Tipton. I would like Rob to clear the path to smooth things over between KK and Glenn. They could in turn, after patching things up, talk to Ian, to ask him to reach out to Ripper, to get him to call Rob to suggest Ripper and Rob do a duet.

So. Anybody got Steve's email adress or something? Help a Priest fan out here. :nana:
 
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srfc said:
Sending complaints to Steve Harris wouldn't even be the right thing to do. Certainly harassing his nephew would be psychotic.
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Not to mention they're all in their sixties. At this point, at the tippy-tail-end of their career, they are not going to reevaluate how they do things in the future. Steve's clearly not interested in a polished sound. He's going to go on doing what he wants--that's the way it always has been, and will be for however (few) years they have left. He bowed to Bruce's demand for a top-notch producer and having a great-sounding album for a grand total of ONE album (BNW). After that, Steve started mucking with the sound again by having the last word on mastering DoD. After that, if judged by the quality of the finished products, it seems clear Shirley was just giving Steve what he wanted at the end of the day.

Bruce probably wasn't going to argue the point when Steve started getting involved in production again because what was he going to do? Go back to spinning his wheels in his solo career? He was a big deal again for the first time in years, and making big money again. If his solo career had been successful, I doubt he would've came back in '99.

At this point, it's just a game of enjoy what Steve gives us when it comes to live product if you can. If not, they have PLENTY of older live albums that do sound good.
 
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Yax said:
I was originally going to contact Steve, to tell his daughter Lauren, to reach out to her ex. guitarist Ritchie Faulkner, to tell him to ask Andy Sneap about another Sabbat reunion.

So. Anybody got Steve's email adress or something? Help a Sabbat fan out here. :nana:
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ftfy.
(Also, thanks a lot, and apologies for shameless theft & trespassing.)
 
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Production wise, I find Iron Maiden completely forgivable. Thing is, the albums sound the way they do because the founding member doesn’t give any fucks about what people think, and that’s a rare quality. It means we get some albums produced like VXI sometimes, sure. But it’s also one of the main reasons Iron Maiden never sold out, quit, changed direction, or any number of issues older bands have these days. That integrity comes at a cost sometimes, in this case production. But I’d rather have it the way it is than change anything. If Steve was pliable enough for someone to persuade him to update his production values, what else would he be willing to change? Maybe double bass drums? Down tuning? Not playing Blaze songs and/or only playing 80s hits? Not having the balls to play AMOLAD in it’s entirety? I’m sure folks don’t see it the way I do, but Maiden’s production values are a side effect of who has control. And that control is also what makes them so great to begin with. So if Steve wants an album to sounds like NOTD, so be it. It’s worth it.
 
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srfc said:
Fair enough, people are entitled to their 2 cents, although I believe now with spotify it's only $0.003.
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Argument ad absurdum.

You are trying to tell us that people can't complain if they haven't paid the full amount for something. In other words, they cannot complain about public roads, public health, education, etc. You don't like the road in front of your house? You have to live with it - you paid in taxes for, I don't know, not more than 0.25m ^ 2 of this road? And don't let me even start talking about Netflix and the movie industry.

Unfortunately, the ad absurdum argument can easily be turned 180 degrees.

Full payers should not comment because they are more likely to defend weak products. After all, they don't want to look like people who throw money on poor-quality albums and items, so even if something is weak, they will defend it to justify their decision, which makes them biased. A person paying $ 0.003 is less emotionally attached to the product and therefore more objective.
 
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