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Old 4th December 2012, 04:14 PM   #171
Pano is offline Pano  United States
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Yeah, I have external processing, but thought it might be interesting to try something more "sophisticated". If I could fix a track, then there would be no need to turn processing on and off.
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Old 28th December 2013, 08:52 PM   #172
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look at this nightmare , on my system this just sounds like distortion
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Old 17th April 2014, 02:46 AM   #173
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I agree, stop with the compression already. I have a volume knob. Simple as that.

I owned a recording studio and recorded many bands including my own. I didn't use compression unless it was absolutely necessary. On my own band's recording, there was 0 compression. I still have the original master I did and the finished product that I sent out to have another pair of ears on it. He compressed it. My version sounds way better.
Some musicians aren't good enough to control their dynamics for recording and it makes it very difficult to mix the sound. Hence, some people saying engineers are lazy; And most of them are. Also, it is very hard to isolate and define both bass drum and bass guitar in a recording, since they operate in the same frequency range. I spent most of my time dealing with that than anything else with a recording. Most recordings either have the bass drum or the bass guitar drowning out the other or they have no low end at all.

Also I used monitors that were flat to 20hz or so to make sure lowend content was properly mixed (subwoofer). I have listened to this recording and many others I have done on many different systems (car audio, home audio, PA, etc) and it always sounds the way I mixed it.

Other recordings that I have heard, from so called "professionals", sound considerably different on different systems, even with all that compression.

It seems like engineers just set mics up, hit record, and compress it so much that it doesn't matter how bad it sounds. Besides the fact that compression dramatically reduces high frequencies that you have to boost back into the recording. Also I notice alot of phase problems with recordings now. They just sound horrible all the way around. Very tinny as well, with no harmonics. Why do we have better tech but lower sound quality? Lazy, compression and no talent.

Sorry for the rant.

I only read about 7 pages and had to respond.
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Old 8th May 2014, 10:07 PM   #174
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Originally Posted by Pano View Post
It sure seems like a good market to me. Offer higher bitrate downloads, but especially offer better mastering with less dynamic compression. I'd pay for that. Even the "hi-res" downloads I've bought seem to be very dynamically compressed. What's the point?
They are very clever. They have made "regular CDs" sound so bad that people want to pay for "hi-res" music.

Insanity!!! A properly mastered, 16-bit CD will sound so much better than a highly DR compressed "HDTracks" 24/192 file.

Ending the loudness war is all that needs to happen. Nobody needs 24/192.
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Old 8th May 2014, 10:10 PM   #175
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Originally Posted by lduarte1973 View Post
look at this nightmare , on my system this just sounds like distortion
Right.

Then they take that and digitize it at 24/192 and sell it for more money?

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Old 9th May 2014, 08:44 AM   #176
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I agree upsampling to 24/192 wont solve anything.
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Old 9th May 2014, 09:19 AM   #177
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what we need also is the end of loudness/compression
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Old 9th May 2014, 11:12 AM   #178
esgigt is offline esgigt  Netherlands
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Quote:
Originally Posted by cogitech View Post
They are very clever. They have made "regular CDs" sound so bad that people want to pay for "hi-res" music.

Insanity!!! A properly mastered, 16-bit CD will sound so much better than a highly DR compressed "HDTracks" 24/192 file.

Ending the loudness war is all that needs to happen. Nobody needs 24/192.
On most you write, I do agree. A properly mastered 16bit cd does absolutely sound better than the regular crap the entertainment industry puts out, no matter the resolution.
I do not agree on your last statement. 16bit does cover most of the dynamic spectrum we are able to hear, but 44.1k is very llimited with regard to our ability of perceiving the time-domain. 96k and 192k fit that ability better.

Back to bits: to be able to reproduce the full 120db range [human ear yeilds more, not without damge] , you'll need about 21 bits data. Indeed, the extra 3bits are not needed, but nice to mask other problems.
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