Hip Hop

dhodo said:
I don't really know anything more than that it is difficult and usually the sound quality or dynamics suffer.

Here's part of a Tony Visconti interview I found, which obviously most albums don't adhere to:



I think one of my craziest examples is Todd Rundgren - A Wizard, A True Star where Side B is over 29 minutes. Definitely not an audiophile record though.

I've heard of some lo-fi or classical albums having around 40 minutes on a side.
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Yea I saw ambient can be very long too. The more bass the harder to fit. Soft track-grooves can be put close together. It makes perfect sense when u think about it logistically but I just never thought about it. Always assumed CD's were 80 minutes n vinyl could be up to 88
 
dhodo said:
Here's part of a Tony Visconti interview I found, which obviously most albums don't adhere to:
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The quote from the dude cutting a Bowie album and the cutter saying "i gotta filter all this bass out to get it on vinyl" makes it seem like that guy just isn't good at cutting vinyl. I own plenty of records with fat sub frequencies (looking at you Carter III) so this seems much more like a technical issue than an issue inherent to the format.. If you are going to press something to vinyl, you are most likely going to want someone to master it specifically for vinyl, but if you are losing low-end on the vinyl version, something is not being done correctly in the mastering process I would have to assume.
 
Jonathan Y said:
I've never been to the Masquerade in Atlanta but apparently it's real small! Stoked I get to catch them in a small venue despite being late to the Griselda party!

Today wasn't bad only tax, plus a 5 dollar fee per ticket (32.50 each total).

I remember when Ticketmaster lost that lawsuit like 5 years ago for their shitty ass fees, and i had like 12 free concert tickets thru the settlement. That was dope!
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The Masquerade is a dope venue. You’ll def like it bro.
 
BradwiseBeats said:
The quote from the dude cutting a Bowie album and the cutter saying "i gotta filter all this bass out to get it on vinyl" makes it seem like that guy just isn't good at cutting vinyl. I own plenty of records with fat sub frequencies (looking at you Carter III) so this seems much more like a technical issue than an issue inherent to the format.. If you are going to press something to vinyl, you are most likely going to want someone to master it specifically for vinyl, but if you are losing low-end on the vinyl version, something is not being done correctly in the mastering process I would have to assume.
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Back in the 60s/70s I have heard that engineers would filter off bass so that it wouldn't skip on shitty record players as well, so I think that he was probably talking to either one who was worried about it playing on a Fisher-Price record player or he was also trying to cram 30 min on a side, where it makes sense to me that tighter grooves would be hard to fit more big dynamics in.
 
dhodo said:
Back in the 60s/70s I have heard that engineers would filter off bass so that it wouldn't skip on shitty record players as well, so I think that he was probably talking to either one who was worried about it playing on a Fisher-Price record player or he was also trying to cram 30 min on a side, where it makes sense to me that tighter grooves would be hard to fit more big dynamics in.
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Yah I get that, but I wouldn't consider either of those issues to be limitations of the format. One is a limitation of the consumer's playback device and the other is a limitation of pressing knowledge (need to give each side enough space for dynamics) or funds (2xLP is more expensive).
 
So I've come around and 38 Spesh has grown on me ... anyone have a spare or cheapish copy of Stabbed and Shot?

"Fiends smoking out the Welch's can / I took green and white and painted the streets like i'm a Celtics fan" might be one of my favorite bars in a minute.
 
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Clint Howard said:
So I've come around and 38 Spesh has grown on me ... anyone have a spare or cheapish copy of Stabbed and Shot?
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I really only know him from his Griselda collaborations, but for being Kool G Rap's kid I always thought he sounded like Sadat X. I should check into him more myself because I think he's pretty good too
 
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If anyone finds themselves wondering what they should listen to this weekend, I'd invite you to revisit Cypress Hill's newest "Elephants On Acid". It has such a cool feel with live instruments - feels almost like murky Wu Tang beats with a raw Cypress sound.

TGIF!
 
scotthilk said:
If anyone finds themselves wondering what they should listen to this weekend, I'd invite you to revisit Cypress Hill's newest "Elephants On Acid". It has such a cool feel with live instruments - feels almost like murky Wu Tang beats with a raw Cypress sound.

TGIF!
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been a Cypress/Muggs production fan since the early '90s and do not like that album at all.
 
Vinyl&Kicks86 said:
been a Cypress/Muggs production fan since the early '90s and do not like that album at all.
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Their first two albums were so good... so so good. Everything after that ranges from terrible to ehhh (imho of course) and it kinda turned me off Muggs altogether. It wasn't until the recent collabs with Marciano, Mach and the new Soul Assassins stuff that made me get back into his stuff. Also, we desperately need a Muggs x Hus record.
 
Clint Howard said:
Their first two albums were so good... so so good. Everything after that ranges from terrible to ehhh (imho of course) and it kinda turned me off Muggs altogether. It wasn't until the recent collabs with Marciano, Mach and the new Soul Assassins stuff that made me get back into his stuff. Also, we desperately need a Muggs x Hus record.
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Muggs best production with Cypress is Temples of Boom which is also my fav Cypress album, the dark atmosphere of that album production is top notch and unmatched in my opinion.
 
Vinyl&Kicks86 said:
Muggs best production with Cypress is Temples of Boom which is also my fav Cypress album, the dark atmosphere of that album production is top notch and unmatched in my opinion.
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I mean, to each their own and all that jazz but I really can't see how Temples compared to either of the first two. Especially the first one but Black Sunday has joints for days too. Cock The Hammer is one of their best tracks ever.
 
scotthilk said:
Respect your opinion. Just the beats? Mood? Lyrics? All of it, it sounds like?
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same here but everything about Elephants On Acid is meh to me sub-par lyrics and underwhelming production from Muggs, some people say this is Cypress return to form i'm just not hearing it.
 
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