ChrisCoaster wrote:
On Feb 15, 10:59 pm, "Trevor" wrote:
"ChrisCoaster" wrote in message
...
I have for the last week borrowed several dozen CDs from the local
library and am dismayed to find that even many 1980s era first-gen CDs
of musicians from WW2 up to that point have had some loudness
processing(compression, remastering, remixing) done to them.
Welcome to the 20th century :-)
The only way to hear this stuff properly is if you still have the
same albums on vinyl!
Nope, since ALL vinyl discs had some processing, intentional and otherwise,
(compression, bass roll off, distortion, rumble, wow, flutter, FR errors
etc) the only way to hear what it sounds like on the original master tape is
to listen to the original master tape. Of course that CAN be transferred to
CD now WITHOUT any further change (not often is of course) but it NEVER
could be with vinyl. (and still can't)
Trevor.
__________________
The original vinyl(and cassette of that time) are a lot CLOSER - not
exact - but closer - to what the studio master sounded like.
By that statement shall I assume you have heard the master tapes?
That's
what should be aimed for. As I've said repeatedly, digital leveled
the playing field with none of the hiss issues of tape, the noise/low
freq. issues of LPs, and a dynamic range equal to cassette's and LP's
COMBINED.
Digital audio systems function in an analog realm, and regardless of the
theoretical dydnamic range of the digital system, practical limitations
of the analog realm hold dynamic range well below the theoretical
calculation.
And what do these idiots- Excyoooz me - "ENGINEERS" do?
People have jobs. Jobs come with bosses. Pay comes with satisfying the
bosses. For decades musicians, managers, and labels have wanted their
songs to be loud on the radio to catch and help hold the attention of
the listener(s). Radio station operators have wanted their station to be
as loud as possible, to achieve better signal delivery within their area
of coverage.
The engineers job is to satisfy the requirements of their
bosses/clients, and that's not you, in this case. So the place to take
up the battle is at the labels, and with the artists and their
management. That's who pays the engineers.
Furthemore, some engineers can make things sound amazingly loud and
startlingly good. Check out Cookie Marenco's work with Tony Furtado, for
example. Loud as all get out, and gorgeous at the same time.
JAM THE ENTIRE DYNAMIC RANGE OF "SOMEONE SAVED MY LIFE TONIGHT"(Sir
Elton John) INTO A TWO DECIBEL RANGE AT THE TOP OF THE DIGITAL VU
SCALE!! Utter stupidity.
See above and stop blaming the engineers for doing the job specified by
their bosses. Don't buy products that you find unsatisfactory. Return
that which you have bought that falls short and demand a refund. Talk is
cheap, while returned product is very expensive.
--
shut up and play your guitar *
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