I don't buy that because Mark said a few years ago that Myles talked him into wearing in-ear monitors to protect his hearing. So Mark broke that 20+ year force of habit.chtimixeur wrote: ↑Sat Apr 23, 2022 11:20 amForce of habit.rscotta831 wrote: ↑Fri Apr 22, 2022 6:08 pm You may be right about all of that, but why does Mark insist on staying wired in concert when nearly every other guitarist has gone wireless? He said, “I can tell the difference.” If they “absolutely don’t care,” why continue to walk around with a cord attached?
Going by this, you feel ODR sonically sounds better than AB III? If so, I completely disagree. Or are you solely referring to brickwalling?chtimixeur wrote: ↑Sat Apr 23, 2022 11:20 amPretty much.rscotta831 wrote: ↑Fri Apr 22, 2022 6:08 pm And when did they start sounding “really bad”? When they began working with Elvis?
I reember being shocked by the vocals when first heard Blackbird. It was overproduced (e.g. unneded voice effects everywhere, loudness war on White Knuckles), but was still tolerable overall.
Slip to the Void immediately told me something was wrong in terms loudness war (the soft intro is louder than the rest of the song).
Fortress was an improvement, and I can live with that one.
TLH was exhausting.
And the level of guitar distortion on some of the harder WTS songs was insane.
Those last two albums are very hard to listen to as far as I'm concerned, and the mixes focus way too much on the kick drums.
Remember, circa 2008 was the peak of the loudness wars *cough* Death Magnetic *cough*, so albums that were released at or near 2008 do suffer somewhat at least partially from that universal mistake.
Kick drums were WAY more a focus on WTS than TLH. Night and day. My 13.5" subs tell me so. TLH is pitiful when it comes to kick drums.
His last sentence told me if you criticize Elvis for the sound of the album, you also have to criticize AB for signing off on it.chtimixeur wrote: ↑Sat Apr 23, 2022 11:20 amI totally disagree with your last sentence: once a record is out, it also belongs to fans of the band, and they're entitled to critique it.TenaciousBe wrote: ↑Fri Apr 22, 2022 9:15 pm I also find it fascinating, that people who don't like Elvis' work think their opinion is the absolute truth, and he's objectively bad at his job despite how others feel - including the band members themselves. If he's good enough for the band and they consider him to be basically the fifth member of Alter Bridge, why isn't he good enough for you (not speaking at you, Dan, just the Elvis haters)? You have the right to your opinion, but that's all it is - YOUR opinion. Others may feel differently. If the band likes him and his work, then his work is just as much part of their creative decision as the songs themselves. There's no distinction between "the songs themselves" and "the production," it's all part and parcel of the song. If you criticize him and his work, then you criticize them for their decision.
I can make a distinction between the content of a song and the way it was recorded. I love AB's music, but overall, the sound quality is not up to the same standards.
Myles and Mark are free to make bas decisions, and just because people are fans shouldn't mean they must accept it all.
Also, I think Mark, Myles and their band pals are blinded and in complete denial, when it comes to Elvis and sound quality. It feels to me like they're trying to convince themselves he's still the guy, when a lot of people around the Internet (not trolls) keep telling them there's a big issue with sound quality.
We know Myles has tinnitus, so I don't trust him when tocomes to sonics. His ears are just shot, and as a consequence, he can't hear what actually sounds good.
Mark on the other, has said he didn't have hearing issues, and I can't understand for the life of me how a guy who had such great sounding records in 1999 and 2004 can think WTS or TLS sound great.
Since Mark has signed off on such poor sounding AB records since 2004, what is your opinion on how Mark's solo records sound?