|Originally posted by SYSTEM-J |
One thing I almost wrote above regarding the lack of peak-time tracks is that he's struggling to recreate the old energy. I can't tell if it's deliberate of it's a problem of technique. If you made a '90s era trance track but at 123 it just won't have any energy. The techniques have changed a lot since then.
Even if he'd produce tracks at 140 they still wouldn't have the same energy because they are deliberately EQd to death. If you listen to the old records, they just ooze that dirty, gritty midrange, which also makes them a bit muddy feeling but that's where the energy lies. The new tracks have very controlled midrange and very little frequency overlap, which gives them more punch in the transients and makes the drums cut through the mix but in return it just makes them sound cold, thin and empty because the mix lacks the warm buzzing mids. If you cut too much of the lows and midrange in your drums and synths you cut the tracks balls - while the low cut mania is a problem common to much of modern club music, it's especially obvious if you have someone like Lieb who used to make tracks with slamming midrange. It's not even an analog/digital thing, there are many late 90s/early 2000s tracks made on crappy digital synths and crappy early VSTs that sound more slamming and "analogue" than modern records made on top of the line analogue and outboard gear. I think the "spaciousness" you are talking about in the old records is part of the same problem, the old ones have a thick noisefloor and delay/reverb tails that go pretty far down, the new ones have very little going on in the back of the mix in comparison.
For the record, this isn't necessarily an either/or thing, there are a lot of modern "oldschool" sounding house records that manage to strike a nice compromise between juicy midrange and enough cleaning up and seperation to make the drums cut and the transients punchy.
June 2018 mix
Last edited by Woony on Aug-12-2017 at 14:43