Tuesday, 03 February 2009
Digital, iPods, vinyl, and audio quality
Music consultant Bob Lefsetz:
So who’s to blame: The producer, the engineer, or the technology?
(ACKs to John Gorman for pointing me to Lefsetz’s blog.)
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Music consultant Bob Lefsetz:
I wanted to write and tell you how fucking great CDs without compression were. Instead I’m gonna write how great VINYL is!In which even an audiophile CD[1] is emotionally less satisfying than vinyl
...I don’t have a subwoofer. But, there was suddenly this ooze all over the floor of my house. The same one that permeated the environment when I used to play “Long Time Gone†on that first Crosby, Stills & Nash album. You know how you feel the bass, how it locates somewhere between your gut and your genitalia? How it makes you feel like you’re truly at the live show? That’s the sound I’ve got right now in my house.
Then there was that organ. I didn’t hear the organ before. Or at least didn’t notice it.
And when the piano plays, I can SEE IT!
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It sounds like…music...
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I felt the audiophile CD. But it wasn’t warm. It was a silicone tit, not the real thing....
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I’m convinced we’ve got this rhythmic music dominating the charts today because acoustic music, music with dynamic range, sounds so shitty on CD.
So who’s to blame: The producer, the engineer, or the technology?
(ACKs to John Gorman for pointing me to Lefsetz’s blog.)
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[1] Why two versions?
...the crap compressed one and the audiophile one[?]. Got to give props for the release of the edition with dynamic range, but when a producer explains the main version sounds like crap because it’s got to be loud enough on your iPod, you know not only that the end is near, but we’ve jumped off the cliff.
In other words, everyone’s agreed that music sounds terrible. How can acoustic music survive? How can people desire to listen to music for hours when it hurts their ears?
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