But no, no, I don't think this similarity would get my mind on the song. "You know, I just had a short vacation, Roy / spent it getting a root canal / Oh, how'd you like it?" I've heard a lot, but I sure haven't heard everything. I've still got quite a lot to see and do. "Well, I've seen all there is to see, and I've heard all they have to say / I've done everything I wanted to do. (That's too bad, as my pal Warren was a heck of a musical force.) Me? Hey, I wasn't hanging out with anyone recently who had been grooving to Zevon. Maybe your best friend was playing it when you were hanging out. Maybe it was in a movie you saw over the weekend. We're humming it, singing it under our breaths, you know what I mean. That shard of music that just won't go away. One way or another, there's sometimes that perpetual soundtrack. That song, that chorus, that melody line, that guitar solo, whatever, some musical bit that gets stuck in our heads. I'm gonna go out on a limb and guess we've all had the occasional earworm. So why did I have Warren Zevon's "Ain't That Pretty At All" constantly looping through my brain? It's not even my favorite song, though I like it a lot, it's not even by my favorite artist, though I like him a lot. I mean, of all songs, how did this one get stuck in my head?
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If these services called themselves “automated stereo bus processing” services, I’d have no problem with that. Mastering is more than just stereo bus processing. I’m a firm believer that a project isn’t fully mastered until it’s 100% ready for distribution and production. Instead, this article focuses on facts regarding a few things that what people call “automated mastering” simply cannot do for you, and why that is important or perhaps detrimental to your project. If you’re expecting an article that critiques and dismisses the intrinsic sound qualities of what people are now calling “automated mastering” or “AI mastering,” this is not that type of article. |
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