I only listened to it once, so can't really say what song i liked the most. Overall highly liked. Better than their last album anyway (which was good).
Hesitation Marks is a pretty good album. I only listened to it once and I'm sure that each listen will make me love this album more than the last. I am amazed with some of the negative comments I'm reading on the Facebook fan page of NIN. I'm reading comments like Hesitation Marks is not good because it's not like Downward Spiral or Trent Reznor is not on drug. I mean, seriously?!?!?! :fp:
I would have preferred something more aggressive. But that's not what Trent wanted to do. He also recently said in an interview that he tried putting in loud guitars with the arrangements and it didn't sound right to him.
Understandable. Still a good album with top of the line electronic work as always.
Enjoying it.
"I would have preferred something more aggressive. But that's not what Trent wanted to do. He also recently said in an interview that he tried putting in loud guitars with the arrangements and it didn't sound right to him."
Interesting. Trent can always consider putting loud guitars for his next NIN album, but that may not be released for at least awhile.
It is strange how it has been over five already since The Slip has been released, yet I was never really impatient for the band to come back. Maybe it is because I have matured a lot. I remember getting impatient for Metallica releasing their new album, which would be titled Death Magnetic and it was finally released on September 12, 2008. They haven't released a new studio album since (except their collaboration with Lou Reed in 2011, which I was never really interested in and heard it was really bad) but for some reason, I am not upset with their lack of new releases despite the fact that they are my favourite band. Though they did say that their next album may only be released in 2015.
Hesitation Marks was mastered in two different ways - the standard, “loud” mastering (which is what you’ll find on the CD, on iTunes, and everywhere else), and also an alternate “audiophile” mastering, which we’re offering as a free download option for anyone who purchases the album through nin.com. For the majority of people, the standard version will be preferable and differences will be difficult to detect. Audiophiles with high-end equipment and an understanding of the mastering process might prefer the alternate version.
Alan Moulder, who mixed the album, offers a more detailed explanation:
When we were mixing Hesitation Marks we decided to treat the mastering process in a slightly different way to the usual. Since we had tried to treat every other aspect of making this record differently to how we were used to, it seemed to make sense. We were mixing as we went along with the production of each song rather than at the end, so we thought that once we had a song pretty close we would send it off to Tom Baker, our long time serving mastering engineer, to give it some mastering treatment. Normally you wait until the record is finished being recorded and mixed, then take all the mixes to mastering. But we thought doing it again, as we went along, might make us push the process further and spend more time on mastering rather than rush through it at the end. Whilst doing this we became aware of how much low bass information there was on the record. Since that can define how loud of a level the mastering can be, we were faced with a dilemma: do we keep the bass and and have a significantly lower level record, or do we sacrifice the bass for a more competitive level of volume? The biggest issue in mastering these days tends to be how loud can you make your record. It is a fact that when listening back-to-back, loud records will come across more impressively, although in the long run what you sacrifice for that level can be quality and fidelity. So after much discussion we decided to go with two versions. On the main release Tom did exceptional work to maintain the integrity of our mixes and reproduce the low end as much as possible and still get a decent level, although it’s still nowhere as loud as a lot of modern records. The Audiophile Mastered Version is more true to how the mixes sounded to us in the studio when we were working on the songs. Have a listen, turn up the volume and enjoy the experience!
Mastering Engineer Tom Baker adds:
I believe it was Trent’s idea to master the album two different ways, and to my knowledge it has never been done before.
The standard version is “loud” and more aggressive and has more of a bite or edge to the sound with a tighter low end.
The Audiophile Mastered Version highlights the mixes as they are without compromising the dynamics and low end, and not being concerned about how “loud” the album would be. The goal was to simply allow the mixes to retain the spatial relationship between instruments and the robust, grandiose sound.
NOTE: The standard mastered version is in no way inferior to the Audiophile Version - we wouldn’t release something inferior as the default. And vinyl purists rest assured, the vinyl edition was mastered to sound the very best for that format. The Audiophile Version is merely an alternate take on the mastering, which some people will appreciate. It’s meant to give a slightly different experience, not denigrate the standard version. Listen to each and come to your own conclusions.
If you ordered any format of Hesitation Marks from nin.com, you’ll be able to download one or both mastering versions, in whichever formats you prefer (MP3, FLAC, Apple Lossless, and WAV), beginning September 3rd.
Tell the captain 'This boats not safe And we're drowning.'
Hesitation Marks was mastered in two different ways - the standard, “loud” mastering (which is what you’ll find on the CD, on iTunes, and everywhere else), and also an alternate “audiophile” mastering, which we’re offering as a free download option for anyone who purchases the album through nin.com. For the majority of people, the standard version will be preferable and differences will be difficult to detect. Audiophiles with high-end equipment and an understanding of the mastering process might prefer the alternate version.
Alan Moulder, who mixed the album, offers a more detailed explanation:
When we were mixing Hesitation Marks we decided to treat the mastering process in a slightly different way to the usual. Since we had tried to treat every other aspect of making this record differently to how we were used to, it seemed to make sense. We were mixing as we went along with the production of each song rather than at the end, so we thought that once we had a song pretty close we would send it off to Tom Baker, our long time serving mastering engineer, to give it some mastering treatment. Normally you wait until the record is finished being recorded and mixed, then take all the mixes to mastering. But we thought doing it again, as we went along, might make us push the process further and spend more time on mastering rather than rush through it at the end. Whilst doing this we became aware of how much low bass information there was on the record. Since that can define how loud of a level the mastering can be, we were faced with a dilemma: do we keep the bass and and have a significantly lower level record, or do we sacrifice the bass for a more competitive level of volume? The biggest issue in mastering these days tends to be how loud can you make your record. It is a fact that when listening back-to-back, loud records will come across more impressively, although in the long run what you sacrifice for that level can be quality and fidelity. So after much discussion we decided to go with two versions. On the main release Tom did exceptional work to maintain the integrity of our mixes and reproduce the low end as much as possible and still get a decent level, although it’s still nowhere as loud as a lot of modern records. The Audiophile Mastered Version is more true to how the mixes sounded to us in the studio when we were working on the songs. Have a listen, turn up the volume and enjoy the experience!
Mastering Engineer Tom Baker adds:
I believe it was Trent’s idea to master the album two different ways, and to my knowledge it has never been done before.
The standard version is “loud” and more aggressive and has more of a bite or edge to the sound with a tighter low end.
The Audiophile Mastered Version highlights the mixes as they are without compromising the dynamics and low end, and not being concerned about how “loud” the album would be. The goal was to simply allow the mixes to retain the spatial relationship between instruments and the robust, grandiose sound.
NOTE: The standard mastered version is in no way inferior to the Audiophile Version - we wouldn’t release something inferior as the default. And vinyl purists rest assured, the vinyl edition was mastered to sound the very best for that format. The Audiophile Version is merely an alternate take on the mastering, which some people will appreciate. It’s meant to give a slightly different experience, not denigrate the standard version. Listen to each and come to your own conclusions.
If you ordered any format of Hesitation Marks from nin.com, you’ll be able to download one or both mastering versions, in whichever formats you prefer (MP3, FLAC, Apple Lossless, and WAV), beginning September 3rd.
Hesitation Marks was mastered in two different ways - the standard, “loud” mastering (which is what you’ll find on the CD, on iTunes, and everywhere else), and also an alternate “audiophile” mastering, which we’re offering as a free download option for anyone who purchases the album through nin.com. For the majority of people, the standard version will be preferable and differences will be difficult to detect. Audiophiles with high-end equipment and an understanding of the mastering process might prefer the alternate version.
Alan Moulder, who mixed the album, offers a more detailed explanation:
When we were mixing Hesitation Marks we decided to treat the mastering process in a slightly different way to the usual. Since we had tried to treat every other aspect of making this record differently to how we were used to, it seemed to make sense. We were mixing as we went along with the production of each song rather than at the end, so we thought that once we had a song pretty close we would send it off to Tom Baker, our long time serving mastering engineer, to give it some mastering treatment. Normally you wait until the record is finished being recorded and mixed, then take all the mixes to mastering. But we thought doing it again, as we went along, might make us push the process further and spend more time on mastering rather than rush through it at the end. Whilst doing this we became aware of how much low bass information there was on the record. Since that can define how loud of a level the mastering can be, we were faced with a dilemma: do we keep the bass and and have a significantly lower level record, or do we sacrifice the bass for a more competitive level of volume? The biggest issue in mastering these days tends to be how loud can you make your record. It is a fact that when listening back-to-back, loud records will come across more impressively, although in the long run what you sacrifice for that level can be quality and fidelity. So after much discussion we decided to go with two versions. On the main release Tom did exceptional work to maintain the integrity of our mixes and reproduce the low end as much as possible and still get a decent level, although it’s still nowhere as loud as a lot of modern records. The Audiophile Mastered Version is more true to how the mixes sounded to us in the studio when we were working on the songs. Have a listen, turn up the volume and enjoy the experience!
Mastering Engineer Tom Baker adds:
I believe it was Trent’s idea to master the album two different ways, and to my knowledge it has never been done before.
The standard version is “loud” and more aggressive and has more of a bite or edge to the sound with a tighter low end.
The Audiophile Mastered Version highlights the mixes as they are without compromising the dynamics and low end, and not being concerned about how “loud” the album would be. The goal was to simply allow the mixes to retain the spatial relationship between instruments and the robust, grandiose sound.
NOTE: The standard mastered version is in no way inferior to the Audiophile Version - we wouldn’t release something inferior as the default. And vinyl purists rest assured, the vinyl edition was mastered to sound the very best for that format. The Audiophile Version is merely an alternate take on the mastering, which some people will appreciate. It’s meant to give a slightly different experience, not denigrate the standard version. Listen to each and come to your own conclusions.
If you ordered any format of Hesitation Marks from nin.com, you’ll be able to download one or both mastering versions, in whichever formats you prefer (MP3, FLAC, Apple Lossless, and WAV), beginning September 3rd.
Time to change where I am preordering from
WTF?? I think this is kind of bullshit.... I didn't have this info when preordering. :x
With all its sham, drudgery, and broken dreams, it is still a beautiful world. Be careful. Strive to be happy. ~ Desiderata
That was really cool - you can see why he was so pissed off about not being able to use the full production at Reading/Leeds. Imagine putting in that much effort then being told you can't use it.
"In that NIN Vevo video, when I say 'cool huh?' and @trent_reznor says 'yeah, subtle,' it's sarcasm. We were looking at some hideous visuals."-Rob Sheridan
For those interested, you can watch the Made In America stream this weekend, which includes Nine Inch Nails closing on Sunday. Am I the only one who think that Jay-Z or someone else could actually make a surprise appearance during NIN's set?! They will play from 9:30 PM to 11:00 PM.
Comments
Interesting. Trent can always consider putting loud guitars for his next NIN album, but that may not be released for at least awhile.
It is strange how it has been over five already since The Slip has been released, yet I was never really impatient for the band to come back. Maybe it is because I have matured a lot. I remember getting impatient for Metallica releasing their new album, which would be titled Death Magnetic and it was finally released on September 12, 2008. They haven't released a new studio album since (except their collaboration with Lou Reed in 2011, which I was never really interested in and heard it was really bad) but for some reason, I am not upset with their lack of new releases despite the fact that they are my favourite band. Though they did say that their next album may only be released in 2015.
'This boats not safe
And we're drowning.'
Time to change where I am preordering from
http://www.deezer.com/en/album/6869221? ... web+gh+nin
Where are you preordering from?
You're purchasing through them so you can get it for free. :fp:
No.
The vinyl has one version.
This new version will be free for download with your nin.com purchase.
So, yeah, changed my preorder
My favorite song on the album is probably actually Came Back Haunted.... Not totally sure if that's just because I'm so used to it or not.
(Jeff Tweedy, Sydney 2007)
“Put yer good money on the sunrise”
(Tim Rogers)
I've heard it about 8 times now. My second favorite on the album for sure.
http://www.youtube.com/watch?v=1NwgIhDz ... r_embedded
That was really cool - you can see why he was so pissed off about not being able to use the full production at Reading/Leeds. Imagine putting in that much effort then being told you can't use it.
"In that NIN Vevo video, when I say 'cool huh?' and @trent_reznor says 'yeah, subtle,' it's sarcasm. We were looking at some hideous visuals."-Rob Sheridan
Here's the credits
http://imageshack.com/scaled/large/826/si3u.jpg
http://www.gohastings.com/product/POPMU ... 261067.uts
Thank you
I received some today in the mail. I ordered directly from nin.com though and my order is wrong. just wondering who to contact.
If Isotope Music doesn't fulfill the nin.com orders for Canadian customers, how the hell did i end up with these CD's?!?!
http://www.philly.com/philly/blogs/ente ... -long.html
http://store.nin.com/storeinfo.php?section=help
It's so drastically different than the rest of the album.. it makes me chuckle every time I hear it.
You're in this zone... and then
Boop boop, boop boop, boop... boop
I just kind of go. "Alright, nice..."