[Arny Krueger]

"Audio Empire" wrote in message


Microphones, even very good ones, are not perfect (after
all, they're transducers, just like speakers and
phonograph cartridges), mixers aren't perfect, and the
analog to digital process is not perfect.

Wrong on 2 counts. Mixers and converters are often sonically transparent.
Comparing the sonic purity of phono cartrdiges to good converters is like
comparing mud to milk.

And that's just on the "capture" side of the equation. Usually, the
record producer and the mix engineer can't resist making
it sound "better" with EQ and compression and that adds
another layer of abstraction.

Those are artistic choices that may or may not be done. Railing against
equalization is "The Audiophile thing to do" but shows ignorance. When you
equalize to overcome losses in other parts of the recording chain, you can
easily be stepping in the direction of greater sonic accuracy.

On the playback side, the
already flawed CD goes through digital to analog
conversion.

Again, absolutely nothing to worry about in modern times with modern
equipment.

When the amplification is not perfect

But it is again, often sonically transparent especially if you stay away
from tubes...

and certainly one's speakers are far from perfect as is the
listening room.

But again, they can work well enough.

The fact that we can get any semblance of
music from such a lash-up is more of a miracle than it is
anything else. 8^)

These are all hits on technology. Yet in current days the worst sonic damage
is done by people for artistic reasons.

This has been proven to be false. There were tests where
sound was passed via components about 20 times and
listener was not able to tell the difference.

Depends upon what kind of processing you're talking
about. Analog?

If you define analog as tubes then audible flaws are likely.

I doubt it, but an A/D - D/A loop? That's possible,

That's a given, and not even requiring the best available components.

There must be specific culprits that can be
addressed to help eliminate the recorded sound. Does
the industry
share the same equipment? Maybe there is bad-actor
sound gear that is
most influential at squashing realism.

On the record side, microphones are probably the biggest
variable along with venue and post-capture manipulation.

Difrerences among microphones pale in comparison to differences in
microphone technique.


And no there really aren't any standards for those things.

Just the ears and the experience of the recording staff.