No, don't. Technical terms invented by dentists, lawyers, and graphic designers are a sure sign of dementia audiophilia. I recommend penicillin b.i.d. washed down with copius amounts of alcohol.
What I think is the same fuzzy concept is what Allen Wright calls "downward dynamic range." What dynamic range has to do with wire escapes me, but there's so much absolutely unsupported hot air being blown around, my hair is getting dried out.
I did not coin the phrase. It was around long before me
I am not sure how to make it any clearer
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OK.
Thanks, I'll let the guys in prod know they're not up to standard and will bear this in mind next time I spin the next new music release of exceptional fidelity to real musicians playing in a real space. The latter might be a while.
Or even worse, the misappropriation of technical terms that have actual meaning (like "noise floor") to refer to some subjective observation that's somewhere between vague and imagined.
For example, "Again, the cable's neutrality and low noise floor helped me easily focus on individual instruments whizzing through the mix". LOL!
before me
Use some more black backround.It will become clearer
Noise floor is a correct technical term.Black backround is a metaphorical term,not to equal "noise floor"but an effort to show how low is "noise floor" in some cases.Not correct term in absolute terms,but not difficult to understand either.The "blacker the backround",the easier to hear/identify low level information/detail,dynamic contrast.......the lower the noise floor the easier to hear/identify low level information/detail,dynamic contrast.........oops
Apparently a crew that disapproves of a fern being referred to as an attractive plant of green colour with scent and texture instead of fixed-term biological oxygen generator in fractal form of determinate reflective spectra. In what staid, dead terms should sonic impressions be expressed? 7? X? That of which we cannot speak? Is this a global principle in life - descriptions of taste, people, art - or just applicable to descriptions of audio impressions?
cbdb, commercial broadcast production. The talent pools runs the gamut from an former heyday Motown mastering engineer with a bathroom papered in Cleo awards to grinders who refused to mix on anything but Horrortones, which I eventually removed for the damage it was causing our sound. Ironically, they used the Monotones instead of the JBL production monitors as the latter hurt their ears. One thing they all had in common was singular focus onproduct over the tools, to the degree that one (now at a top LA station) treated the studio as a magic mystery box with knobs that changed the sounds.
cbdb, commercial broadcast production. The talent pools runs the gamut from an former heyday Motown mastering engineer with a bathroom papered in Cleo awards to grinders who refused to mix on anything but Horrortones, which I eventually removed for the damage it was causing our sound. Ironically, they used the Monotones instead of the JBL production monitors as the latter hurt their ears. One thing they all had in common was singular focus onproduct over the tools, to the degree that one (now at a top LA station) treated the studio as a magic mystery box with knobs that changed the sounds.
Use some more black backround.It will become clearer
I seriously doubt that more black will help anyone that choses to put all of their faith in piece of test equipment, rather than trusting the most powerful tool known to man, the human brain.
RDF: OK advertising. Then wouldnt the "producers" be your clients at the ad agencies? In my experience in the studio "producer" usually means the people with the money. They have the final say. They get what they want or they go away. For us (TV and movies) its the show producer or the director, for music its the record label. If the "producer" wants to use the dialoge line thats distorted, or the music cue that sounds like crap, thats what we give him.(we may try to talk him out of it, but often they just think your questioning there authoritiy). I guess my point is that often in studios the engineers hands are tied by the producer, and so you cant always blame him for the quality, when content is more important.
Sorry for once more taking this off topic.
Sorry for once more taking this off topic.
Spaghetti be thy name. We're talking about communicating one's impression of sonic perception, rooted in the spurious or not. Language must be capable of more than the gross simplifications of bright/dull or boomy/thin. How should the wide gaps between audio reproduction and the live event be described? Ascribing those impressions to genius or dementia is a whole 'nuther and higher level. Certainly other critical pastimes based in the senses employ an ornate and non-obvious vocabulary (cough cough ...oenophiles... cough cough).
cbdb, I'm not blaming you for the state of modern music production but raising the point that being behind the board all day doesn't defacto map over superior equipment expertise. Doesn't discount it either.
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