A lesson from Vlado Meller on how to deal with over-compressed mixes.

I compare two masters of Wilco's 'Kamera' from Yankee Hotel Foxtrot—Steve Rooke's original and Bob Ludwig's 2022 remaster—to reveal how simple EQ choices create different musical experiences.

'BASS-RHYTHM AND MUSICAL FOUNDATION - 3rd and 4th Octaves - 64 - 256cps': "Profound attention should be given to equalization or attenuation in this range, for the musical balance of the entire program can be controlled at 100 cps."

“With EQ alone, he controlled the dynamics and balanced the vocals without relying on any compression. As a result, the beat remained powerful and punchy but was better controlled.”

“Complex problems don't always need complex solutions.

Ludwig could have used sophisticated dynamic processing to tame that tambourine. Instead, he chose the approach that served the music best: a simple cut combined with his shelf boost.”

“Analyzing other engineers’ work teaches you more than their specific moves. It teaches you to listen differently, think creatively, and trust your instincts when the standard approach isn’t enough.”

“Recently I worked on 'In Your Eyes' by The Weeknd, analyzing Dave Kutch's master. Kutch is more aggressive than most A-list mastering engineers. Where others might add 1dB here and there, Kutch really goes for it with 3-4dB boosts. That might not sound like much, but in the mastering world, it's substantial.”

“Most of us gravitate toward boosts because they provide immediate satisfaction. Cuts require more patience. The benefits are often subtle until you A/B them. But when cuts work, they usually work better.”