Monday, 30 November 2015

PURSON - "The Circle & The Blue Door" 2015 XDR Remaster

PURSON 2015 XDR Remaster by Eddy Lite for
hoerejong MultiMedia Design,
Hipper Than Hell Records, The Netherlands

1 The Contract
2 Spiderwood Farm
3 Well-oiled Machine

This ain't piracy, this is rebellion.
For promotional purposes only.
Don't steal, do share.

(c)2013 PURSON
(p)2015 Hipper Than Hell Records

Saturday, 28 November 2015

SAPHO AU BATACLAN - High Definition Audio, Vinyltransfer

1987 Original 1st issue
2015 Hipper Than Hell Records ((( FULL Dynamic ((( o ))) Range Master )))

(Original Pristine Native France 1st Pressing)

1 Tam Tam
2 Méthylène
3 Thatcher Murderer

(c) 1987 Sapho/CellulOid/Anti-Gel France
(p) 2015 Hipper Than Hell Records, The Netherlands
All Rights Reversed

Companies, etc.
Concert Recorded At – Le Bataclan, France
Vinyltransfer 24 96 by Eddy_litE
@hoerejong MultiMedia Design
for Hipper Than Hell Records,
The Netherlands

Gatefold Sleeve.
Recorded Live At "Bataclan" September 1986.

- DENON DP-45F (with fitted DENON DL-160)(wired by Van Den Hul Headshell Link / WBT connectors)
- Audio-Technica interconnects with WBT connectors -> amp in
- DENON Precision Audio Component MOSFET Amplifier PMA-915R
- Audio-Technica/Monster interconnects -> DELL T3400 workstation. (SSD drive used for perfect latency & accuracy)
- SONY Sound Forge -> 192kHz/32bit -> Click Repair 2.0.4. - settings below 12 -> minor cleaning up / touching up with iZotope RX
- MBit Dither & SoX SRC downsampling to 96kHz/24bit and 44,1kHz/16bit
- Authoring & packaging for iTunes AAC 512kbs and Full Dynamic Range / Full CD quality Resolution FLAC container.

No EQ.
No boosting dBs.
No artificial touching up.
Just the music...

For grabs near a downloading portal near YOU soon!

(c) 1987 Sapho/CellulOid/Anti-Gel France
(p) 2015 Hipper Than Hell Records, The Netherlands
All Rights Reversed

Why it ends so abruptly you ask?
That's youtube for ya!

Companies, etc.
Concert Recorded At – Le Bataclan, France
Vinyltransfer 24 96 by Eddy_litE
@hoerejong MultiMedia Design
for Hipper Than Hell Records,
The Netherlands

Gatefold Sleeve.
Recorded Live At "Bataclan" September 1986.

Don't Steal, Do Share
Don't Steal, Do Share

Thursday, 26 November 2015

The Loudness War is ending - tremendous news about a growing awareness for more dynamic music releases

*ironically*  No-one will ever hear you in the end...

Dear Dynamic Music Friends, Audiophiles, Producers, and Audio Geeks,

Topics of todays newsletter: (reposted from last years seminars...)

1.) The Loudness War is ending - What will happen with DR?

2.) Most dynamic version makes the mastering pitch between 5 mastering studios - watch the video

3.) MASTERING ACADEMY teaches how to create distortion free and MFiT-ready masters

4.) Upcoming MASTERING ACADEMY seminars


1.) The Loudness War is ending

The global efforts to solve the problem of diminishing audio quality caused through the paradigm of Peak Normalization, which has driven the demand for hyper-compressed music releases, is going to create a shift in the world of audio and music through a growing implementation of Loudness Normalization.

The PLOUD expert group of the EBU (European Broadcasting Union) and other bodies around the world have been able to exceed the implementation of Loudness Normalization upon the boarders of TV Broadcast into the world of music.

iTunes Radio is loudness normalized to minus 16.5 LUFS.
Spotify is loudness normalized to minus 16 LUFS.
Most of the major music distribution platforms apply loudness normalization to the pre-listening samples, which allows more dynamic masters to reveal their beauty opposed to distorted music releases which are played with a proper level reduction of sometimes up to 10dB.

This is just the beginning of a major shift in all areas where music and audio is distributed to listeners. From now on it is just a matter of time that also major record companies will recognize the benefit of the delivery of better sounding masters instead of hunting for the loudest master without a chance to win an already lost race? What will happen with Dynamic Range measurement? Is that important for the future?
Yes, it is!

Since the development of the TT Dynamic Range Meter many new measurement algorithms appeared on the metering landscape:

- LRA (Loudness Range according to BS 1771 and R128)
- PLR (Peak to Loudness Ratio)
- LUFS (Loudness Units)

Let´s have a quick glance on that!

LRA is designed to evaluate the foreground dynamic for broadband broadcasting content and is not able to replace DR because of the ignorance of the highest 5% of the dynamic area. This is actually the area where most of the music happens today. Therefore LRA is NOT able to give us meaningful information about the dynamic integrity and technical quality of music. PLR reflects the difference between peaks and average loudness (RMS) which can be meaningful if applied on the loud portions and parts of music.
In case of a piece of music with very dynamic parts and a super hyper-compressed chorus this measurement would lead to high measurement results which do NOT reflect the dynamic distortion of the chorus when measuring the whole song and is therefore not suitable for this purpose.
PLR reflects the momentary crest factor and that´s it.

The TT Dynamic Range Algorithm is actually based on PLR but reflects just the upper 20% of the dynamic spectrum which makes it suitable to reflect the dynamic integrity of musical content. DR is still the only available and broadly accepted algorithm to display the use and abuse of hyper-compression in a meaningful manner.

During the process of getting back to more dynamic releases DR is a helpful and the only available tool to distinguish hyper-compressed and distorted releases from more breathing releases.

Due to the new established world standard for loudness normalization (BS 1771 / R128 / A/85--> LU & LUFS measurement) DR is not any longer a proper standard for loudness normalization as it makes no sense to have multiple competing systems on the market.

Therefore we will develop the TT Dynamic Range algorithm into a direction that it even better will be able to give a meaningful information about the technical vitality of musical content.

Our aim is to develop a second generation which considers TPL (True Peak Level --> the portion of distortion caused through inter-sample peaks) and the truthfulness of High Res content. High Res content is a growing market segment and major companies are trying to fool customers through releasing faked up-sampled versions of actual Low Res releases. We are going to embed a verification algorithm into a new meter that will be able to reveal faked High Res releases.

The new algorithm will be called DRQ - for Dynamic Range Quality.
You are welcome to support the development though donations on our platform. 100% of your donation will be invested into the development of the new algorithm.
We have calculated a development budget of approx. USD 60,000 which will allow us to release an all platform compatible tool in three versions:
Free - Low Budget - Professional. The Low Budget version will be priced in the USD 30 area and the pro version will come with a wide set of highly professional tools for about USD 99 in order to be able to cover development expenses.
Donate here

2.) Most dynamic version makes the mastering pitch between 5 mastering studios
Pleasurize Music Foundation founder and Dynamic Range Meter inventor Friedemann Tischmeyer shows in this video, how a proper pitch process between multiple master version is applied professionally. It is revealing the drastic quality differences between various masters of the same song.
This video is very informative for all decision makers in the industry from artists to product managers but it is also very inspiring for mastering engineers too.

3.) MASTERING ACADEMY teaches how to create distortion free and MFiT-ready masters

In order to support the paradigm shift within the music industry towards more dynamic releases, Friedemann has founded the MASTERING ACADEMY.
The aim of the MASTERING ACADEMY is to provide the best possible and scalable learning environment to become a highly skilled mastering engineer.
The 5-day Master Seminar is supported by a 9 hour preparation program and accompanied by optional subsequent "Supervised Mastering Sessions" which allow the participants to get in-depth feedback on actual mastering jobs from mastering icons like Alan Silverman (53 Grammies), Friedemann and further first class senior mastering engineers of the network with a dedication towards superior audiophile masterings.

MASTERING ACADEMY is targeting mixing engineers, producers and upcoming as well as established mastering engineers to increase the skill set and even become a better mixing engineer through this intensive understanding of the mastering process.
The seminar empowers you to make the transition from loudness oriented mastering to distortion free mastering in a meaningful and competitive manner.
You will also learn how to master relatively loud and produce a much better sounding result which is already MFiT (Mastered for iTunes) compatible.
MASTERING ACADEMY allows graduated students an access to leading High Res distribution platforms.

MASTERING ACADEMY is providing a growing network of certified affiliate locations around the world.

Look for a location near you.

Online Schedule:

With kind regards,

Pleasurize Music Foundation & MASTERING ACADEMY team

P.S.: Subscribe to our You Tube channel with a lot of new free tutorials:

Within Temptation, Dynamic Range shoot out. What sounds more alive?

Hell-o dear readers, dear listeners.

Hate squashed (pop)music too?
What I mean with "squashed" music?
Music that sounds all the same from the moment you put it on, till the moment your ears are ringing or you lost interest.
It is usually not that the music is bad, nor that the band didn't record well that's the problem.
It's the music industry that makes THEIR music sounds the LOUDEST over anyone else's.
THAT is making all the music sound all the same these days.



WITHIN TEMPTATION - 2004 - The Silent Force Album
Official Dynamic Range Values:

Sadly, the average of Within Tempation's music on CD has about 6dBFs Dynamic Range.
This means a very tiny margin between the average sound pressure and the explosions, orchestras, choirs, and what have you not that makes Within Temptation this spectacle to attend in concert, right?
Why can't their music on CD or radio sound like that you ask?
It can, but Sony BMG won't let Sharon and her men make that decision...

Hell, that's 2015 for you.
Sadly even moreso, you (as in artist or band) CAN sound BIGGER if you let your loyal fans and music buying audience decide how loud their music goes... Simply by mastering it sanely...


Published on Nov 25, 2015 by Eddy Lite  
WITHIN TEMPTATION Stand My Ground (2015 XDR Remix/Master by D.J. Eddy_litE for hoerejong MultiMediaDesign, The Netherlands)
(c) 2004 Within Temptation, Sony BMG, The Netherlands
(p) 2015 Hipper Than Hell Records

Although I consider these beautiful dudes & dudette friends I bet Sony BMG is NOT going to like this. And they're probably (partly) right. Although reworked, COPYRIGHTS still DO exist in these recordings. This is NOT piracy, this IS rebellion.
By the fans for the fans...

Wednesday, 25 November 2015

Bathsheba: Belgium's most gloomy & doomy ft. (ex-Serpentcult's Michelle Nocon)

Serpentcult's Michelle Nocon is back!

Awesome Doom from Belgium.

No prisoners, no concessions.

9/10 *

Eddy Lite

Monday, 23 November 2015

Music can save us...

HELL-O dear visitor, friend, fiend, foe or otherworldly species...

It's been awhile, and it's oddness.
The world seems on fire since the brutal attacks on the legendary venue Bataclan and the Paris citizens over a week ago now, and we're still a bit shaky over the whole mind boggling events that happened.
I for one (Eddy Lite that is) have few words to say about this.
It's shocked us all, it's very hard to openly talk about it, so I felt the need to say some words about the world which seems to be on fire these days, more than ever, but also knowing there's only one person that can say this better and more beautiful and hopeful than I ever could.

My words are pointed to the Dutch people in particular since that is my homeland and so this message will be in Dutch, pardon my choice to do so, it's not that I want to exclude people that don't speak any Dutch, but the only music I feel is saying something sensible right now is in my native language...

The song and words are by Dutch maestro of 'Kleinkunst' or 'Singer-songwriter' for decades now, Boudewijn de Groot, the music provided by Perquisite with the help of Cato van Dijck on lead-vocals (Now in the Army of Love of MY BABY) & Jenny Lane & Qeaux Qeaux Joans doing backing vocals...

Luister dit prachtige nummer, en luister het vooral lekker hard. Lees de tekst goed mee als je deze nog niet van buiten kent en bedenk je dat muziek misschien wel het enige is wat ons allen dichter samen kan brengen, waar je ook vandaan komt, wat je kleurtje ook is of waar je nu wel of niet in gelooft...

Waar ik in geloof?
Dat we er samen wel uit komen, als we maar open staan voor elkaar, onze verschillen en overeenkomsten respecteren en besluiten dat, hoe turbulent en onzeker de toekomst ook mag lijken, er één ding is wat ons kan redden. Het rotsvaste geloof dat ieder er mag zijn. Dat respect voor elkaar hebben, hoe anders je buurman/vrouw/jongen/meisje ook mag lijken helemaal zo gek niet is. Je zou er zomaar wat van op kunnen steken en je wereldje kunnen oprekken, jawel, zelfs verrijken. Want ja, laten we wel wezen, met de social media is voor de meesten van ons de wereld gevoelsmatig enkel kleiner geworden. Of niet dan?
Bedenk je ook dan, dat dankbaar zijn voor wat we hebben helemaal geen geloofsaspect is, dat is gewoon de menselijke moraal...

Welteruste Nederland, slaap zacht wereld...
Peace, Eddy Lite

'De Tuin der Lusten'
(Boudewijn de Groot)

De tijden veranderen sneller dan ooit
Vandaag kan al gisteren wezen
Wat morgen gebeuren gaat weet niemand ooit
Misschien valt het ergste te vrezen

De koepel van bloemen, de bol van kristal
Ze kunnen de liefde bewaren
De lijst om de wereld is griezelig smal
Kom hier en vergeet de gevaren

Draag de bonte druiventros
Rijdend op fluwelen dieren
Waait de wind je haren los

Gezichten in bloemen, ze kijken je aan
Kom, kruip in een schelp met z'n tweeen
Er vliegen nog zwaluwen rond de vulkaan
En hoog om de roze moskeeen

Kom, spring in het water en duik in de zee
Verberg je in 't brons van de bomen
Een vogel brengt vruchten en wijn voor ons mee
Zolang we het lot nog ontkomen

Er vliegt in de hemel een vogel voorbij
Ga mee op zijn rug naar het zuiden
En wuif met een palmtak de wolken opzij
Zodat je de klokken hoort luiden

Nu plukken we samen nog bloemen in 't gras
En leven als goden in vrede
Maar ginder al strooien skeletten met as
En wonen in brandende steden

TIP!: Zie ook:
De documentaire 'Kom Nader' van Susanne Raes  gaat in première tijdens IDFA (18 t/m 29 november) en wordt op 25 december 2015 uitgezonden door de NTR op NPO2.

(c)2010 BNN/VPRO Nederpop Show / Uitvoerenden: Cato van Dijck, Perquisite, Jenny Lane, Qeaux Qeaux Joans. / Tekst: Boudewijn de Groot / Inspiratie: Jeroen Bosch / Introductie: Frank Lammers / Camio: Elle Bandita
(p)2013 Remastered by Eddy_litE for Hipper than Hell Records