Is modern music mastered like shit? Loudness war is the most

Music is mastered for cheap(ly produced, not sold) apple earbuds

I'm fine with loud over-compressed music, it's a production style as valid as any. However, I draw the line at taking perfectly fine old music and BRICKWALLING IT TO SHIT

>>72893202
Even headphone that cost $200 only cost $10-$25 to make. Usually money goes to R&D and advertising.
>>72893236
Has this ever happened before? I heard Nevermind and Life After Death had shitty remasters. Why would you even remaster post 80s albums anyway?

>>72893261
You shouldn't even remaster pre-80s albums. Its the music version of star wars reissues, a cool experiment if it doesn't REPLACE the original.

>>72893261
> Why would you even remaster post 80s albums anyway?
Jews
It's easier to repackage and resell stuff you know people want, rather than going out and trying to find new talent that has the mass appeal of the artist you could just remaster their discography and make a killing.
Besides musicians get most of their profits from touring, so it's a no-brainer for labels to re-release their back catalogue since most of the profit goes directly to them.

>>72893180
because "producers" think dragging a poorly EQ'd wav file through izotope ozone is the end all/be all of mastering.

>>72893180
>t. poorfag with shit headphones
you're why the loudness wars happened.

>>72893348
It was shitty radios really. The loudness wars are the product of radios and wanting to catch the attention of the listener.

>>72893284
Nah, I can understand stereo remastering for the Beatles or some shit or 5.1 surround like ITCOTCK.
>>72893348
No bully.

>>72893284
From what I understand ... most album reissues are mastered from the album master tape, and maybe not even the original one but a safety copy

(why records and old CD's often sound better than the re-releases: they were transferred on the same vintage gear that was used to record it in the first place by people who actually knew how to work with analog, before 30-70 years of tape degradation and copying got in the way)

If people go back to the ACTUAL individual track master tapes that have almost never been used on a release, the potential for an increase in sound quality is huge (think going from cassette to CD)

Unfortunately very few labels except MFSL care enough to do this; usually all they do is take the album master, apply some extra compression to make it in line with modern standards, and slap a "remastered" label on it