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  »  New  A tribune to Transient Evenness or …..  A tribune to Transient Evenness or …...  Playback Listening  Forum     0  17461  08-20-2006
  »  New  How to USE “Resonating Oops” in loudspeakers..  Injection?...  Horn-Loaded Speakers Forum     184  1470115  02-28-2007
  »  New  Contributing factors in compressed sound..  Contributing factors of compressed sound....  Audio Discussions  Forum     3  45495  08-23-2007
  »  New  An objective tool to trace gap better horn rate and cro..  An objective tool to trace gap better horn rate and cro...  Horn-Loaded Speakers Forum     0  16039  10-05-2007
  »  New  The nature of "soundstage" in audio...  My goals beyond...  Playback Listening  Forum     22  164331  02-03-2008
  »  New  The Evolution (or Anti-Evolution) of FM Broadcast..  I know these people...  Off Air Audio Forum     3  42036  06-22-2008
  »  New  How idiots destroy sound...  Playing with knobs...  Audio Discussions  Forum     9  62837  10-12-2008
  »  New  DeCompressor - Puncher Processor for WaveLab..  Talking about the free cheese …...  Didital Things  Forum     1  29965  10-04-2009
  »  New  Why people still sell compressed music online?..  Another example of barbaric idiots who run the show!...  Didital Things  Forum     2  27686  09-26-2010
09-22-2007 Post does not mapped to Knowledge Tree
jessie.dazzle


Paris, France
Posts 456
Joined on 04-23-2006

Post #: 26
Post ID: 5352
Reply to: 5351
Mystery injection
Romy wrote :

"...what driver do you use for injection?..."

I don't know! I pulled the entire device (driver+enclosure) from the garbage in front of an old house... the enclosure is made so that I will have to break it open to see the rear of the driver... The front has no markings at all, but measures about 8"; it is very old, and has the magnet out in front of the cone like a phase plug... very strange conception. I will take the box apart some time and post the info here with photos. The box measures about 1.5 cubic feet.

"...but it colored like hell…"

Oh yes.

"...This is where the art of the building systems with horns kinks in as it is necessary to find where is the save balance between a desire to get more LF EQes from a horn but without picking the dynamic-compressing lower knee “horn choking..."

I can't wait to get the frames done and mount everything up, and start measuring and listening!!! They are taking a bit longer due to demands of the DAY JOB... also, I absolutely HATE building the same thing twice!

jd*


How to short-circuit evolution: Enshrine mediocrity.
09-23-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 27
Post ID: 5364
Reply to: 5269
The "Future of Music" by Spectrum.IEEE.org
The "Future of Music" by Suhas Sreedhar


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
09-27-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 28
Post ID: 5432
Reply to: 5267
Good Compression: Low Level Extension by Pacific?

I have to admit that I was experimenting last night with Pacific’s Low Level Extension and it was not bad at all. It would not be my last words as I would need the whole system up and running to see what is going on – the region where the Low Level Extension it operates is VERY demanding. However my initial feelings were very positive. The Low Level Extension is not EQ but a dynamic-range-sensitive EQ – quite brilliant idea – through I do not know yet how it will sound at full bloom. The classical CD of References Recordings are a good illustration how it works….Anyhow, it is very exiting feature to play with… though I do admit that it is a forum of a compression….

From Pacific Microsonics Operating Manual: (disregard the text mentioning HDCD – I do not use HDCD encoding neither A/D nor in D/A)

Low Level Extension

Low Level Extension is an average signal level based low level compression / expansion system used on HDCD 16-bit amplitude encoded recordings which very gradually raises gain a preset amount when the average signal level drops below a preset threshold. During HDCD 16-bit decoded playback the compression curve is expanded back to linear gain by the HDCD decoder using a precisely mapped inverse of the compression curve controlled by a hidden code, producing a dynamic range and resolution floor beyond 16-bit. During undecoded playback low level information normally lost by standard 16-bit players is preserved, providing more accurate timbral and spatial reproduction.

There are two modes of Low Level Extension, “Normal” and “Special”. Normal mode begins to affect the input signal 45 dB below peak level, gradually raising the gain 4 dB as the level drops over an 18 dB range. Special mode begins to affect the input signal 39 dB below peak level, and gradually raises the gain 7.5 dB over a 26 dB range. Normal mode is optimized to provide the best combination of decoded dynamic range and resolution and nundecoded compatibility. Special mode is designed to provide the best possible decoded dynamic range and resolution at some potential expense of undecoded compatibility. Typically, Special mode is used only for HDCD 16-bit master tracking with the assumption that the recording will be decoded to a 24-bit or 20-bit word length for digital post production before being re-encoded to HDCD 16-bit using Normal mode to produce a release master.

Wide Dynamic Range Jazz or Classical

This type of material typically has infrequent, short duration peaks such as snare drum rim shots, cymbal crashes, bass drum hits, etc. These types of short duration peaks can be limited by as much as 5 dB or 6 dB using Peak Extension with little audible effect during undecoded playback, allowing the average recorded level to be raised which improves overall resolution and fidelity.

Low Level Extension, set to Normal mode, should almost always be used with wide dynamic range material as it greatly aids in preserving the low level ambient and timbral information that gives “life” and naturalness to recordings.

With certain types of source material, such as a very low level passage in a noisy analog tape, Low Level Extension may occasionally cause an audible shift or “breathing” of the noise floor during undecoded playback. Low Level Extension can be turned off “on the fly” prior to such passages when the signal level is above - 30 dBfs, and turned back on afterwards, again when the signal level is above - 30 dBfs, to preserve the best possible fidelity for the remainder of the recording. However, with source material that is very noisy, Low Level Extension should be left off, as the noise of the source will set the resolution floor.

Rgs, Romy


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
03-16-2008 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 29
Post ID: 6919
Reply to: 5267
Instead of fixing technologies let kill the people.

A very good article on the subject that basically proves my attitude on the subject: it is not about technology but the idiocy of people who use the technology.

http://www.audiomisc.co.uk/HFN/ClippingOnCD/clipping.html

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
04-29-2008 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 30
Post ID: 7322
Reply to: 6919
It is a worrying state of affairs
 Romy the Cat wrote:

A very good article on the subject that basically proves my attitude on the subject: it is not about technology but the idiocy of people who use the technology.

http://www.audiomisc.co.uk/HFN/ClippingOnCD/clipping.html

The Cat


The term 'over-compression' is becoming very widely used in the recording industry.

It is slowly becoming politically correct to accept that gross distortion is not a good thing. It is not 'cool' to 'smash' a recording any more.

However, it is also politically correct to accept that although 'over-compression' is a bad thing, the 'right amount of compression' can 'improve' the sound of a recording.

In other words, nothing has changed.

Sound engineers want to DO something. They are rarely happy if a recording just sounds good after simply plugging in the microphones. They like to 'improve' it. They like to be 'creative'. The increasingly popular job title 'mixer' exists in testament to this.

The best engineers do nothing whatsoever. Their greatest skill is that of leaving the recording alone and forcing the mastering engineer to do the same.

Sound engineering is not a creative art.

Art is subjective.

Engineering is objective.

Andy
10-19-2008 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 31
Post ID: 8563
Reply to: 5267
Turn Me Up!™ - It has a lot of good links.
fiogf49gjkf0d

Turn Me Up!™ is a non-profit music industry organization campaigning to give artists back the choice to release more dynamic records. To be clear, it's not our goal to discourage loud records; they are, of course, a valid choice for many artists. We simply want to make the choice for a more dynamic record an option for artists.
Today, artists generally feel they have to master their records to be as loud as everybody else's. This certainly works for many artists. However, there are many other artists who feel their music would be better served by a more dynamic record, but who don't feel like that option is available to them.

This all comes down to the moment a consumer hears a record, and the fear that if the record is more dynamic, the consumer won't know to just turn up the volume. This is an understandable concern, and one Turn Me Up! is working to resolve.

http://www.turnmeup.org/

The CaT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
10-20-2008 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 32
Post ID: 8571
Reply to: 8563
The value of such a direction?
fiogf49gjkf0d
 Romy the Cat wrote:

Turn Me Up!™ is a non-profit music industry organization campaigning to give artists back the choice to release more dynamic records. To be clear, it's not our goal to discourage loud records; they are, of course, a valid choice for many artists. We simply want to make the choice for a more dynamic record an option for artists.
Today, artists generally feel they have to master their records to be as loud as everybody else's. This certainly works for many artists. However, there are many other artists who feel their music would be better served by a more dynamic record, but who don't feel like that option is available to them.

This all comes down to the moment a consumer hears a record, and the fear that if the record is more dynamic, the consumer won't know to just turn up the volume. This is an understandable concern, and one Turn Me Up! is working to resolve.

http://www.turnmeup.org/

The CaT


Note the use of the word 'loud' where 'distorted' would be more appropriate.

Also, the implication that this 'over-compression' is limited to a mastering issue is absurd (as absurd as the idea of engineering as art, where distortion is presented as an artistic choice).

Andy
10-20-2008 Post does not mapped to Knowledge Tree
Gregm
Greece
Posts 91
Joined on 02-16-2005

Post #: 33
Post ID: 8573
Reply to: 8571
The loudest sells the most?
fiogf49gjkf0d
there are many other artists who feel their music would be better served by a more dynamic record
You put it politely -- diplomatically.
It seems more likely that artists (& companies) feel that louder sells better. So Amplitude & distortion are considered good for sales.
10-20-2008 Post does not mapped to Knowledge Tree
scooter
Posts 161
Joined on 07-17-2008

Post #: 34
Post ID: 8587
Reply to: 8573
Even the Wall Street Journal recognizes there is a problem with recording engineers...
fiogf49gjkf0d
= Article Title
Even Heavy-Metal Fans Complain That Today's Music Is Too Loud!!!
They Can't Hear the Details, Say Devotees of Metallica; Laying Blame on iPods

= Wall St Journal

= September 25, 2008 (front page article)

"...Music released today typically has a dynamic range only a fourth to an eighth as wide as that of the 1990s. That means if you play a newly released CD right after one that's 15 years old, leaving the volume knob untouched, the new one is likely to sound four to eight times as loud. Many who've followed the controversy say "Death Magnetic" has one of the narrowest dynamic ranges ever on an album..."

http://online.wsj.com/article/SB122228767729272339.html


03-06-2009 Post does not mapped to Knowledge Tree
tuga


Posts 174
Joined on 12-26-2007

Post #: 35
Post ID: 9958
Reply to: 5267
Behind the scenes of a concerto recording
fiogf49gjkf0d
This promo movie opens a tiny window on the recording technique used for Vadim Repin's latest(?) recording of Brahms Violin Concerto w/ Chailly and the Leipzig Gewandhaus Orchestra:
 
http://www2.deutschegrammophon.com/special/?ID=repin-brahms


"Science draws the wave, poetry fills it with water" Teixeira Pascoaes
04-09-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 36
Post ID: 10195
Reply to: 5267
I think lately about POSITIVE benefits of SOME compression.
fiogf49gjkf0d
I do and it is not as black and while subject as it might appear…

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
04-09-2009 Post does not mapped to Knowledge Tree
Paul S
San Diego, California, USA
Posts 2,570
Joined on 10-12-2006

Post #: 37
Post ID: 10197
Reply to: 10195
Not Black and White, but...
fiogf49gjkf0d
The fact is, all orchestral processing/recording/broadcasting involves some sort of "compression", so it's really just a matter of how it's done.

I noticed a long time ago that good FM did a very "graceful" job of limiting, and I have to admit that even some of the modern digital algorithms/limiters seem to be keeping up the old standards.

Basically, good FM limiting is the opposite of what we get on too many recordings, which suffer from the "pumping" that is the result of "engineers" who "ride" the gain controls like cowboys on a Brahma bull.  Personally, I'd generally rather give up the extremes than suffer the stupid "pumping".

I also suspect that the FM limiting factors into good FM's unique and very cool sense of "space".  I admit being a little too smitten with this effect, to the point where late-night listening can feel downright self-indulgent.

Best regards,
Paul S
04-14-2009 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 38
Post ID: 10229
Reply to: 10197
Gain VS distortion
fiogf49gjkf0d
 Paul S wrote:
The fact is, all orchestral processing/recording/broadcasting involves some sort of "compression", so it's really just a matter of how it's done.


This is true in a more complete sense than I think was intended.

Aside from the compression in the microphone capsule itself we also have compression in the loudspeaker to contend with.

In other words, for a given playback SPL there is an inevitable level of compression (nonlinear distortion) in the loudspeaker, which can be 'traded' for compression processor distortion (nonlinear distortion).

This is where the monitors in the recording studio become important as the process of weighing the trade is largely un/subconscious (subjective).

In any case, the terms & conditions of the 'trade' are totally specific to the loudspeaker & listening level and while the average studio loudspeakers have extremely high distortion we will be faced with the 'gain vs distortion' compromise shown in most recordings.

Andy
04-15-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 39
Post ID: 10232
Reply to: 10229
It is not about compression but about how to do deal with it.
fiogf49gjkf0d

Let do not forget that acoustic space also have own compression… not to mention that the performing intend itself has own “compression”.

Anyhow, I kind of view noondays the whole subject of compression slightly different then I use to do it before. I agree that various type of compressions rule playback but my interest is what type of compressions they are and HOW the compression applied. To a degree a properly made compressions might be in fact a beneficial tool. Someone before proposed it but I discarded it – now I feel that the idea of full-of-sense compressions had own merit.

The most interesting aspect to me in whole idea of compression is not the compression itself – we people who sit in the end sound chain have very little control over it. What interests me is hot to organize playback DIFFERENTLY in order to make the playback to sound the most properly with this or that type of compression. The compression itself is like an input parameter of some kind of function and the playback shall react to compression and to be able to deal with it…

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
04-22-2009 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 40
Post ID: 10290
Reply to: 10232
Compression, not just amplitude
fiogf49gjkf0d
 Romy the Cat wrote:

Let do not forget that acoustic space also have own compression… not to mention that the performing intend itself has own “compression”.



The question of 'self-compression', where the performer moderates their performance, is the only form which does not introduce harmonic & non-harmonic artifacts.

All other forms of compression comprise a nonlinear system, which introduces both harmonic & non-harmonic distortion.



Anyhow, I kind of view noondays the whole subject of compression slightly different then I use to do it before. I agree that various type of compressions rule playback but my interest is what type of compressions they are and HOW the compression applied. To a degree a properly made compressions might be in fact a beneficial tool. Someone before proposed it but I discarded it – now I feel that the idea of full-of-sense compressions had own merit.


An interesting aspect to the idea of nonlinear systems (compressors/microphones/speakers/etc) is that the resulting distortion is cumulative, propagative & non removeable/correctable.


The most interesting aspect to me in whole idea of compression is not the compression itself – we people who sit in the end sound chain have very little control over it. What interests me is hot to organize playback DIFFERENTLY in order to make the playback to sound the most properly with this or that type of compression. The compression itself is like an input parameter of some kind of function and the playback shall react to compression and to be able to deal with it…


Regarding harmonic distortion, the general response is to roll-off the HF, but this is a poor compromise.

Regarding the non-harmonic distortion, there is no way to remove this after the fact. If the nonlinear system responds to 2k + 3k tones by introducing a 1k difference tone, there is nothing you can do about it without causing other problems.

For a demonstration of this, take your favourite digital compressor and set it up for some 'reasonable' amount of compression.

Next introduce a pair of sinewave tones (say 2k + 3k) and observe the introduction of harmonic tones (above) and non-harmonic tones (below).

Andy
04-22-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 41
Post ID: 10291
Reply to: 10290
The the right amount and the properly applied type.
fiogf49gjkf0d
Andy,
 
my mind does not operate by the categories you employ, I rather think about nature of Sound not about harmonic/non-harmonic distortions. The whole subject about the distortion is intricate, not to mention that it is not know if we in fact are able to recognize and adequately react to distortions. What I am saying that your explanation might explains something but nothing that I have practical or sensual experience with. The feeding system of sinewave tones and observation of introduced of harmonic or non-harmonic tone doe not proved to me anything about compression.  First, are you sure that the harmonic or non-harmonic problems come from compression itself but not from a wrong ways to inflict compression? You saddest to take my favorite digital compressor and set it up for some 'reasonable' amount of compression. Are you sure that in this case the sound will be ruined by compression but not by the DSP processing or by somthing else? Second, if you subtract the source from output during your “feeding system” experiment and hear juts distortions without the souses then what will you hear? I know what you will be hearing but the question is what would you be hearing that would allow you to make a cultural judgment about Sound? The answer is nothing. Therefore I do not tend to think about sound as compellation of original sound and distortion but I rather look at the whole sound, and I really know what to look for. Therefore I think that the proof in the pudding and what I observe is that a right amount and properly applied compression do not hurt sound, and in some cases very much improves it perception. Now, what would be the “right amount” and the “properly applied type” I have no idea.

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
04-22-2009 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 42
Post ID: 10298
Reply to: 10291
Right amount of wrong notes?
fiogf49gjkf0d
 Romy the Cat wrote:
Andy,
 
my mind does not operate by the categories you employ, I rather think about nature of Sound not about harmonic/non-harmonic distortions. The whole subject about the distortion is intricate, not to mention that it is not know if we in fact are able to recognize and adequately react to distortions. What I am saying that your explanation might explains something but nothing that I have practical or sensual experience with. The feeding system of sinewave tones and observation of introduced of harmonic or non-harmonic tone doe not proved to me anything about compression.  First, are you sure that the harmonic or non-harmonic problems come from compression itself but not from a wrong ways to inflict compression? You saddest to take my favorite digital compressor and set it up for some 'reasonable' amount of compression. Are you sure that in this case the sound will be ruined by compression but not by the DSP processing or by somthing else? Second, if you subtract the source from output during your “feeding system” experiment and hear juts distortions without the souses then what will you hear? I know what you will be hearing but the question is what would you be hearing that would allow you to make a cultural judgment about Sound? The answer is nothing. Therefore I do not tend to think about sound as compellation of original sound and distortion but I rather look at the whole sound, and I really know what to look for. Therefore I think that the proof in the pudding and what I observe is that a right amount and properly applied compression do not hurt sound, and in some cases very much improves it perception. Now, what would be the “right amount” and the “properly applied type” I have no idea.

The caT


Of course the perception is the most interesting part and informs us why it can be dangerous to 'trust' our perception.

Generally, I hear most forms of compression simply as the sound of dynamic 'restriction' or 'stress', but there is an underlying 'dirty' 'unpure' 'unmusical' aspect, which becomes very obvious in the comparison with a real source.

If the musicians are playing a 3 part chord of C major, is there any right amount of dischordant notes for the microphone/speaker/compressor to add? Sharp, flat, off-key tones?

Perhaps, we could say that where the amplitude compression provides a subjective 'improvement' and the distortion products remain below the threshold of audibility or masking, a 'useful' compromise is reached - perhaps a reason for prefering a high noise-floor in a compressed recording.

If compression is used to make up for inadequate gain in playback it could also be argued to be 'useful' but it is a slippery slope to compromise for the worst case.

You might prefer compression for reasons of insufficient system gain, system/acoustic noise-floor or even subjective musical reasons (the musicians played with too much dynamics)....

How do your experiences differ with (sealed) headphones differ from that of the loudspeaker?

Andy
05-26-2009 Post does not mapped to Knowledge Tree
jessie.dazzle


Paris, France
Posts 456
Joined on 04-23-2006

Post #: 43
Post ID: 10593
Reply to: 10298
High-res : Second priority
fiogf49gjkf0d

As things stand today, I believe that the biggest gain in quality is not to be had via the pursuit of higher resolution formats.

A friend of mine who works for a large media distribution business (like Amazon) recently gave me a bunch of sample CDs that were left over from previous evaluations in their listening room. Record labels regularly send these samples out to large retail operations hoping to secure an order. Many of the CDs are bare, with no cover art, and have only a simple hand written title for purposes of ID. Most have a word saying something to the effect that the material is "not for resale". Listening to these recordings revealed in all cases a total absence of dynamic compression; they actually sound really good.

This is somewhat surprising, as I would have thought all mastering to have been done before issuing even the pre-sale samples, but apparently not, or apparently there are two versions (one compressed and one not). In any case, I interpret this finding as an admission on the part of the labels that the effects of dynamic compression are in fact detrimental, and that people running the labels are completely aware of the damage it does.

Though the material on newer (purchased) CDs seems to have less dynamic compression than was the case with CDs from about 3 years ago, it is still present and widely used, and I fully expect that the commercially available versions of these samples will receive the compression treatment.

This I just do not understand... The original motivation (mastering a recording to sound louder than offerings from competing labels when broadcast over the radio) is no longer valid; as a result of this practice (dynamic compression to increase perceived loudness), broadcast signals are now processed before diffusion such that perceived loudness is held at a constant level. Unless I am missing something, there is no longer any reason to continue the practice of dynamic compression; I just don't get it !

The only possible motivation I can imagine is in the context of an individual listening to music files in a noisy environment (an MP3 player used in the subway for example); such a user might "benefit" from dynamically compressed files where the quiet passages are boosted. So is that it? Is this what's dragging down the quality for all users? There has got to be a better way!

jd*




How to short-circuit evolution: Enshrine mediocrity.
05-26-2009 Post does not mapped to Knowledge Tree
tuga


Posts 174
Joined on 12-26-2007

Post #: 44
Post ID: 10597
Reply to: 10593
On compression
fiogf49gjkf0d
Hi jd*,


Unfortunately the minorities always get screwed and this case is not different.
Most people out there listen to music as a background or head banging noise, there's no way around that, and wide dynamic range is not compatible with this.
It would be so easy to have a custom circuit (like loudness) in every single audio gadget that would compress the music for this purpose... It could even be on as default and everyone would be happy.


Cheers,
Tuga


"Science draws the wave, poetry fills it with water" Teixeira Pascoaes
05-26-2009 Post does not mapped to Knowledge Tree
Paul S
San Diego, California, USA
Posts 2,570
Joined on 10-12-2006

Post #: 45
Post ID: 10601
Reply to: 10593
The LP Analogy
fiogf49gjkf0d
Jessie, that is hilarious!  For many years I felt so cagey to know to look out for the "white label" and/or "demo" LPs that various record "Labels" sent out to radio stations/DJs, hoping for air time.  In most cases they were "ringers", better in every way than the stuff that the same labels released for public consumption.

La plus ca change...

Best regards,
Paul S
01-04-2010 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 46
Post ID: 12625
Reply to: 5269
NPR: The Loudness Wars: Why Music Sounds Worse
fiogf49gjkf0d
http://www.npr.org/templates/story/story.php?storyId=122114058&sc=emaf

The NPR program is fine. The 80 comments after are fine, still THEY DI IT!!! Shall it be prosecutable?

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
01-06-2010 Post does not mapped to Knowledge Tree
jessie.dazzle


Paris, France
Posts 456
Joined on 04-23-2006

Post #: 47
Post ID: 12628
Reply to: 12625
Cause for optimism ?
fiogf49gjkf0d
This emission is significant not because it offers new information, but because it aired on NPR, and is as such evidence that the issue is now considered worthy of public attention.

jd*


How to short-circuit evolution: Enshrine mediocrity.
01-05-2011 Post does not mapped to Knowledge Tree
wjam


The French Alps
Posts 7
Joined on 01-04-2011

Post #: 48
Post ID: 15382
Reply to: 12628
Mr eno has lost his hearing
fiogf49gjkf0d
I was so looking forward to David Byrne's LP,  Everything that Happens will Happen Today... on vinyl too.. brilliant... I like David Byrne.. but horror of horrors it's all recorded at exactly the same level.  There is close to zero dynamic I think.  I have now quite a few examples of this effect

Mr Brian Eno produced it and seems very proud of the result.

I'd very much like to invite Mr Eno to hear his own "Another Green World"  and then play the David Byrne LP and ask him whether he can hear any difference in recording quality.  Whether or not you like either artists music you'd have to be totally deaf not to notice this, and sadly the David Byrne LP is close to un-listenable.  Luckily I got to see him live in a good sounding venue... but that's hard to repeat in my living room.

Anyway, the point is.. How did Mr Eno and Mr Byrne miss this?  I mean 1 might have gone deaf, but both at the same time?

ciao
WJAM
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