Tag Archives: High Fidelity

If It's Too Loud, Turn It Down (in mastering)

The Wall Street Journal has another good article about the loss of fidelity in today’s recordings: Even Heavy-Metal Fans Complain That Today’s Music Is Too Loud!!!

Over the years, rock and pop artists have increasingly sought to make their recordings sound louder to stand out on the radio, jukeboxes and, especially, iPods.

But audiophiles, recording professionals and some ordinary fans say the extra sonic wallop comes at a steep price. To make recorded music seem louder, engineers must reduce the “dynamic range,” minimizing the difference between the soft and loud parts and creating a tidal wave of aural blandness.

They interview a couple of mastering engineers, Ted Jensen and Bob Ludwig, who both put the blame on directly on musicians, producers and record-company executives who demand loudness at the sake of fidelity and dynamic range.

If it’s good enough for iPod earbuds, is that good enough?

Previously: Are Audiophiles Just Fogeyists? (2007).

Via Idolator.

Monster Cables vs. Coat Hangers

The Consumerist asks the musical question, Do Coat Hangers Sound As Good Monster Cables? The answer is yes:

Keeping us blind folded, my brother switched out the Belden wire (are you ready for this) with simple coat hanger wire! Unknown to me and our 12 audiophile buddies, prior to the ABX blind test, he took apart four coat hangers, reconnected them and twisted them into a pair of speaker cables. Connections were soldered. He stashed them in a closet within the testing room so we were not privy to what he was up to. This made for a pair of 2 meter cables, the exact length of the other wires. The test was conducted. After 5 tests, none could determine which was the Monster 1000 cable or the coat hanger wire. Further, when music was played through the coat hanger wire, we were asked if what we heard sounded good to us. All agreed that what was heard sounded excellent, however, when A-B tests occurred, it was impossible to determine which sounded best the majority of the time and which wire was in use.

I’m not surprised that their experiments pitting Monster against standard issue Belden cables resulted in no audible difference, but I’ve got to admit to being a little shocked by the results of the coat hanger comparison. That’s just crazy.

Via bb.

Are Audiophiles Just Fogeyists?

The Wall Street Journal asks, Are Technology Limits In MP3s and iPods Ruining Pop Music? But man, couldn’t they find anyone who doesn’t sound like a complete “back in my day” fogeyist? Kids these days, I tell ya, they just don’t care about quality anymore. At least according to dudes who’ve worked with Fleetwood Mac, the Rolling Stones, Eric Clapton, Cher, Michael Jackson, Santana and, ahem, Chris Daughtry.

The annoying thing is that what they are saying really is important:

Producers and engineers say there are many ways they might change a track to accommodate an iPod MP3. Sometimes, the changes are for the worse.

For example, says veteran Los Angeles studio owner Skip Saylor, high frequencies that might seem splendid on a CD might not sound as good as an MP3 file and so will get taken out of the mix. “The result might make you happy on an MP3, but it wouldn’t make you happy on a CD,” he says. “Am I glad I am doing this? No. But it’s the real world and so you make adjustments.”

This shift to compressed music heard via an iPod is occurring at the same time as another music trend that bothers audiophiles: Music today is released at higher volume levels than ever before, on the assumption that louder music sells better. The process of boosting volume, though, tends to eliminate a track’s distinct highs and lows.

It’s true, and it sucks. But they’re not going to convince anybody with that kind of tone.

Continue reading Are Audiophiles Just Fogeyists?

White Stripes Make Recording History

For the first time in recording history, a vinyl master was cut in analog straight from a one-inch master mix. Recording guru Steve Hoffman explains how this was done and why it was such a big deal.

Sounds like they’ve got some audiophiles over at Warner Bros. They’re even setting up a subsidiary to sell hi-fidelity vinyl reissues: Because Sound Matters. Hoffman reveals that he and Kevin Gray have been “remastering for Rhino 180 gram vinyl the cream of the WB/Reprise back catalog for release,” featuring the original artwork, track listings and cut in true analog from the original stereo master mixes, “some untouched for 35 years.”

Maybe it’s time to get back my records

Via the rope.