Not to mention the fact that a lot of producers/engineers simply do a
bad job.

Regards,
Joe


"Mark Zarella" seesigfile wrote in
:

This all makes the assumption that "ideal" is what the engineers say
it is. However, this is usually not true, as much of today's music
is geared towards the radio crowd.

--
Mark Zarella
zarellam at upstate dot edu


"muffbuster" wrote in message
...
Hi Joe,

I have to disagree with you here...

I'm not exactly a purist, but I am fussy about reproducing what's
on the recording.

And that's what you're actually buying... the recording. Your
system doesn't care about the mics, the room, or the recording
equipment. It only cares about what it's being fed... that is, the
sound of the recording. The artist has the control over everything
that goes into the CD and they should do their best to "capture"
the essence of the performance.

I'm far more interested in making sure that the recording sounds as
good as it can... based on making my system as close as possible to
the proverbial "straight wire with gain." Since speakers are not
capable of reproducing *exactly* what they are fed- especially in a
car with its problems with speaker location, eq is a "crutch" that
brings us closer to reproducing the recording...

Just my 4 cents worth.

smiles,
Jamie

In article , Joe
wrote:

True. Everything's colored, especially with today's synthesized
mixes and productions. The concept of "flat" really goes back to
reproducing a live sound without coloration.

Consider a trio - a drum set, an acoustic piano, and an upright
bass. The idea of "flat" is being able to reproduce the same
sound from a recording that you heard when the trio played live.
This can only happen if the microphones used for recording had an
absolutely flat response, the room acoustics were perfect, the
position of the perfect microphones was perfect, and the
recording equipment itself had no tonal effect on the recording.
A virtually impossible environment. So much for the purist's
"true flat".