The Petra Zone

Got this from the Petra Facebook Page

http://soundcloud.com/classicpetra

WOW! They really beefed up "Clean"

Man this stuff is good. Angel of Light is beastly in comparison to the original. That's some mean sounding bass too.

Hey pfreak can you hit us up with these for download. I don't use firefox I'm an IE guy, but RealPlayer's not downloading the tracks.

mp3 of "Clean" sample can be dl here:
http://www.petrafiles.com/files/Clean.mp3

Get a collection of all released samples here:
http://www.petrafiles.com/files/BTTRPremaster.zip

Included in Zip-file are:
Adonai x2
Angel Of Light - Full Track
Angel Of Light x2
Bema Seat x2
Clean
Grave Robber
More Power To Ya - Full Track
More Power To Ya x2
Rose Colored Stained Glass Windows x2

The tracks at the top link I posted are different samples

Thanks for all the samples Bakes! I wouldn't have found them otherwise.

I have added these other samples into my zip file for easy download.
I wasn't aware the samples were different....

Out of the samples I've heard I think Bema Seat and Clean are very heavy and awesome; I'm not really liking Rose Colored it seems to have lost its organic feel on the first verse, The Chorus seems somewhat better, but I think it will have to grow on me.
Angel Of Light is also another highlight I think. Too me two things stand out on these samples; Bob's guitar work and you can really tell thats Louie playing the drums which in both cases will be the two highlights of this Album.

executioner wrote:Out of the samples I've heard I think Bema Seat and Clean are very heavy and awesome; I'm not really liking Rose Colored it seems to have lost its organic feel on the first verse, The Chorus seems somewhat better, but I think it will have to grow on me.

Agree on Clean and Bema Seat, but I think I disagree a bit at this point on Rose Colored... Granted, we're dealing with unmastered clips, but of the ones I've heard so far, Rose Colored has the best vocal of the samples. Greg sounded most comfortable on this song. MPTY was basically the same as the original, except the keyboards were different. Greg was pretty clean on this one as well. Different strokes for different folks, of course, but I have a hard time not liking or letting grow on me anything Petra has done, so I'm probably not the best judge here.

One thing I've notices is how tight this group is musically. Bob certainly is the heart and soul of this group, but you'd have no idea that these 5 guys haven't played together in 25 years if you just picked up this CD. Everything is clean and solid.

Rose colored is kind of iffy on me too. Seems a little drawn out in some places.

loengard wrote:

executioner wrote:Out of the samples I've heard I think Bema Seat and Clean are very heavy and awesome; I'm not really liking Rose Colored it seems to have lost its organic feel on the first verse, The Chorus seems somewhat better, but I think it will have to grow on me.

Agree on Clean and Bema Seat, but I think I disagree a bit at this point on Rose Colored... Granted, we're dealing with unmastered clips, but of the ones I've heard so far, Rose Colored has the best vocal of the samples. Greg sounded most comfortable on this song. MPTY was basically the same as the original, except the keyboards were different. Greg was pretty clean on this one as well. Different strokes for different folks, of course, but I have a hard time not liking or letting grow on me anything Petra has done, so I'm probably not the best judge here.

One thing I've notices is how tight this group is musically. Bob certainly is the heart and soul of this group, but you'd have no idea that these 5 guys haven't played together in 25 years if you just picked up this CD. Everything is clean and solid.

Ya, but it is studio work. I mean, they're all talented musicians and can do numerous takes. Playing together live is the real question.

I think there is still some misconception as to just what mastering is. Mastering is listening to the songs, sequencing them so that they flow musically, balancing lyrical content, dynamics, EQ, etc. In some cases it is crisis management. In some cases it means correction and restoration. But for the most part, there is no magic going on. It is really a simple process or adding fractions of decibels of EQ here and there, unlike the recording process where someone might use a mic or an EQ that adds 20dB of boost or cut.

Then the mastering engineer does different processes for CD, MP3, etc. Vinyl is a completely different formatting, compression and EQ process alltogether.

Now, the mastering engineer CAN do damage by over compressing, which is what most labels and artists want, so that they sound crappy like everyone else. This IS slowly changing. Levels are coming down, dynamic range is increasing.

When mastering engineers have their hands tied and are forced to normalize so that the average volume is the constant peak all of the time, it basically nulls the subtle work done by the artists and mixing engineers. It collapses the stereo image. It makes the sound come across as flat, one dimensional. It can make an album that gave the listener a break from loudness fatiguing. This is why most people cannot stand to listen to digital music for more than 30 minutes. It does not sit well with our brains and bodies. For me, I just don't like the sound of things on 10 all of the time, no matter if I am listening at low levels.

To say that an engineer is bad for going along with this is silly. We all have to do things we prefer not to do. But at the end of the day, we are not paid for our opinions and preferences. We are paid to do what we are told. If we want to continue to eat, we will do it. People that refuse to do what they are told find it hard to keep work and eat. I like food too much to do that.

brent wrote:I think there is still some misconception as to just what mastering is. Mastering is listening to the songs, sequencing them so that they flow musically, balancing lyrical content, dynamics, EQ, etc. In some cases it is crisis management. In some cases it means correction and restoration. But for the most part, there is no magic going on. It is really a simple process or adding fractions of decibels of EQ here and there, unlike the recording process where someone might use a mic or an EQ that adds 20dB of boost or cut.

Then the mastering engineer does different processes for CD, MP3, etc. Vinyl is a completely different formatting, compression and EQ process alltogether.

Now, the mastering engineer CAN do damage by over compressing, which is what most labels and artists want, so that they sound crappy like everyone else. This IS slowly changing. Levels are coming down, dynamic range is increasing.

When mastering engineers have their hands tied and are forced to normalize so that the average volume is the constant peak all of the time, it basically nulls the subtle work done by the artists and mixing engineers. It collapses the stereo image. It makes the sound come across as flat, one dimensional. It can make an album that gave the listener a break from loudness fatiguing. This is why most people cannot stand to listen to digital music for more than 30 minutes. It does not sit well with our brains and bodies. For me, I just don't like the sound of things on 10 all of the time, no matter if I am listening at low levels.

To say that an engineer is bad for going along with this is silly. We all have to do things we prefer not to do. But at the end of the day, we are not paid for our opinions and preferences. We are paid to do what we are told. If we want to continue to eat, we will do it. People that refuse to do what they are told find it hard to keep work and eat. I like food too much to do that.

+1