This new release comes from Devon Allman and Duane Betts (sons of Allman Brothers Band's Gregg Allman and Dickey Betts). This was recorded in the newly rebuilt Muscle Shoals studio, and stylistically is squarely in the Muscle Shoals tradition. With all the modern technology available, you would expect it to sound better than the originals that were recorded there. But it does not sound as good as the 1979 Slow Train Comin' album of Bob Dylan. (That album was recorded in the same studio with much less equipment and much less technology exactly 40 years ago!) That sound was primarily due to the late Barry Beckett and just goes to show that people and experience will trump technology. Getting back to this album, the track that we are looking at is the title track, and it is a classic song that is well known in the genre.
LKFS/LUFS -10.2 dB
Clipped Samples Left 17
Clipped Samples Right 17
DC Offset +.000%, +.000%
Dynamic Range 7.6 dB
RMS Level Left -9.78 dB
RMS Level Right -9.66 dB
The EQ is not bad, although it is a little too heavy in the 100 Hz to 200 Hz range, needs a touch more at around 4 kHz and 10 kHz. The DC offset is correct at 0.000% for both channels, which I believe is a first for these monthly critiques. The LKFS of -10.2 is certainly better than the more common -8 numbers we are used to seeing. The dynamic range is a nice 7.6 dB. It has 34 clipped samples, evenly divided between each channel. The RMS level difference is .17 dB, which is better than most that we see.
There is a heaviness and a slight distortion in the bottom end that is unfortunate and unnecessary. Hopefully the next album will benefit from more experience in arranging, recording, mixing, and mastering.
While we are here, I looked at the track "All Night" from the same album.
LKFS/LUFS -8.0 dB
Clipped Samples Left 143
Clipped Samples Right 95
DC Offset +0.002%, -.0001%
Dynamic Range 3.9 dB
RMS Level Left -8.56 dB
RMS Level Right -7.28 dB
There is less distortion in the bass, but it needs the high end brought up a few dB in the 5 kHz to 12 kHz region. The LKFS should be the same as the 'Down To The River' track (from -8 dB to -10 dB), there should be no clipped samples, no DC offset, and the RMS channel level difference should be closer to 0.
Those are all mastering issues and can be fixed in seconds.
I look forward to the next album being a bit more polished in every area. Here is the picture, zoom your browser in (CTRL +) to see details.
LKFS/LUFS -10.2 dB
Clipped Samples Left 17
Clipped Samples Right 17
DC Offset +.000%, +.000%
Dynamic Range 7.6 dB
RMS Level Left -9.78 dB
RMS Level Right -9.66 dB
The EQ is not bad, although it is a little too heavy in the 100 Hz to 200 Hz range, needs a touch more at around 4 kHz and 10 kHz. The DC offset is correct at 0.000% for both channels, which I believe is a first for these monthly critiques. The LKFS of -10.2 is certainly better than the more common -8 numbers we are used to seeing. The dynamic range is a nice 7.6 dB. It has 34 clipped samples, evenly divided between each channel. The RMS level difference is .17 dB, which is better than most that we see.
There is a heaviness and a slight distortion in the bottom end that is unfortunate and unnecessary. Hopefully the next album will benefit from more experience in arranging, recording, mixing, and mastering.
While we are here, I looked at the track "All Night" from the same album.
LKFS/LUFS -8.0 dB
Clipped Samples Left 143
Clipped Samples Right 95
DC Offset +0.002%, -.0001%
Dynamic Range 3.9 dB
RMS Level Left -8.56 dB
RMS Level Right -7.28 dB
There is less distortion in the bass, but it needs the high end brought up a few dB in the 5 kHz to 12 kHz region. The LKFS should be the same as the 'Down To The River' track (from -8 dB to -10 dB), there should be no clipped samples, no DC offset, and the RMS channel level difference should be closer to 0.
Those are all mastering issues and can be fixed in seconds.
I look forward to the next album being a bit more polished in every area. Here is the picture, zoom your browser in (CTRL +) to see details.
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