Hvordan kan vi bevare det danske sprog, når vi tvinges til at skrive på engelsk her..??
Danish is not dying nor disappearing, 6 million+ is enough to keep it alive, what dies are the 100 or more local dialects. They suffer or vanish due to mobility and information exchange. I see the languages of the Danish outskirts Faeroe-island and Greenland much more in danger as only 2x50000 or so speaks and understand those two languages.
That said we have good language education in Denmark and most here speaks one or two foreign languages. (We're polite too and make it easy on visitors from abroad)
Never smoked anything, so I wouldn't know how to respond the subject from the thread, though echoes from PinkFloyd is a longtime favorite
Danish is not dying nor disappearing, 6 million+ is enough to keep it alive, what dies are the 100 or more local dialects. They suffer or vanish due to mobility and information exchange. I see the languages of the Danish outskirts Faeroe-island and Greenland much more in danger as only 2x50000 or so speaks and understand those two languages.
That said we have good language education in Denmark and most here speaks one or two foreign languages. (We're polite too and make it easy on visitors from abroad)
Never smoked anything, so I wouldn't know how to respond the subject from the thread, though echoes from PinkFloyd is a longtime favorite
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It is so good that it can take you to places that smoking weed could do, but without the need to smoke anything. I don't smoke anymore but it's still one of my favorites too.
WHY?
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Fordi vi er for dumme til at lære dansk !.
Every time that I speak on Skype to my 18 yo son who lives near to Skive, I am astounded at his English diction and range of vocabulary, including technical terms and concepts.
His English is notably better than that of most Aussies...and Englanders.
Dan.
I use the Dynamic Range Database to help me find the best versions. We can't control the mastering, but at least we can choose the best one. If you spend enough time there you will notice that, often, the high sample rate "best" stuff actually has the worst compression. I'd rather have a 44.1/16 copy with high dynamic range, than some of that heavily compressed crap that HDtracks is peddling.
Album list - Dynamic Range Database
This 'remastering' fad brings the question of what is actually being remastered.
Is it the original pre-mastered two track mixdown, or is it remastereing a previously mastered release copy ?.
In my internet travels I stumbled across some remasters that had been processed through an all tube signal chain....all sorts of claims of 'superiority'...I forget the vendor.
I compared standard cd release copies to these 'improved' versions and to my ear the tube remastered versions sounded shite, pure and simple out gassing shite.
Dan.
Is it the original pre-mastered two track mixdown, or is it remastereing a previously mastered release copy ?.
In my internet travels I stumbled across some remasters that had been processed through an all tube signal chain....all sorts of claims of 'superiority'...I forget the vendor.
I compared standard cd release copies to these 'improved' versions and to my ear the tube remastered versions sounded shite, pure and simple out gassing shite.
Dan.
Max & Cogitech, what do you think the rationale is for this remastering trend? My theory is for maximum volume from the tiny speakers on mobile devices, certainly with popular music as it is on these devices that most of that type of material is now listened. In the past the target was FM radio listeners again primarily with regards to popular music, FM stations were well known for using compression ( excessive compression? ) Again the rationale as far as I know was also maximum volume.
Max you probably get this all the time, but this is just for you:
https://m.youtube.com/watch?v=6KUEQ4nWv7Y
I still appreciate that song after all this time, it was one of the earliest popular successes using digital sampling type technology. I only found out recently that the band was formed by legendary producer Trevor Horn, one of the first to utilize all digital production. This may be heaven or hell depending on where you sit on the whole digital vs analogue debate.
Gordon.
Max you probably get this all the time, but this is just for you:
https://m.youtube.com/watch?v=6KUEQ4nWv7Y
I still appreciate that song after all this time, it was one of the earliest popular successes using digital sampling type technology. I only found out recently that the band was formed by legendary producer Trevor Horn, one of the first to utilize all digital production. This may be heaven or hell depending on where you sit on the whole digital vs analogue debate.
Gordon.
LOL, my inspiration.....Back in the day I had the original 'In Visible Silence' on vinyl, don't you worry about that.
That record got played at lots of parties, and to this day still goes well with a 'rollup' or two 😉.
On a decent system, the whole album is quite a sonic masterpiece.
Dan.
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I think the rationale is that the audio world is being populated by 'producers' who have never heard decent sound on proper systems.
Combine this with a buying audience who do not have decent systems, ie their normal listening is on iPod docks and junk AV systems.
Combine this with live performances that are severely compressed and peak limited and you have modern music listener expectations.....the public gets what the public wants.
Dan.
deplorable, if i was an artist and someone butchered my material for sale, what would i feel?, utter shame!! and i would wonder why i would continue to pursue a musical profession?
i think i would only play live music, it would be a poor existence, but a true one.
i design electronics, to me it is like some butchering the mfg of the product and putting my name on it = eek
i think i would only play live music, it would be a poor existence, but a true one.
i design electronics, to me it is like some butchering the mfg of the product and putting my name on it = eek
Glad you liked it! I haven't heard the whole album, though have heard a few of their earlier tracks, beatbox perhaps? I think there was more than 1 version of the same piece, an early example of the remix concept that is sacrosanct within the electronic dance music realm now.
Yeah, I'm very well aware of the limitations of an iPod docking station based system. Sadly I've had to sell off various items of HiFi equipment since I was forced to stop working. In a sense it is this situation that has brought me here in the first place, I want to design and build a half decent amplifier though I'm realizing now that that is going to take a long time to realize, in the mean time I'm stuck with the shitty docking station! I'm probably going to have to throw together something, anything is likely to be better than the dreaded iPod docking station!
Gordon.
there are lots of options available to you on this web site, from a low cost class "D" = gmarsh "the weiner" to full blown power houses, from the likes of "OS" slewmasters & Apex audio designs. it does not have to be expensive to play with diy electronics
Depends on the artists.
Many superb composers and performers don't really care that much- it's the tune, the feel of the music that's important, not whether you can hear that the guitarist's right ring-finger's nail needs a bit of buffing or the exactly where the bass player is standing relative to the saxophonist.
Many are interested in a certain "sound" which will have very little to do with fidelity because that's what they know sells, that's what some musician (probably plural) they like does, and it may indeed be the sound they want to achieve. Audio geeks aren't their audience, and what we might think is "butchered," they might think is "wayyyy better."
I've been thinking... the trend seems to be towards digital electronic music, and the importance of dynamic range to "pushbutton instrumentation" is unclear to me.
There certainly are earlier threads for this topic though.
edit: Thanks, SY. Your first paragraph improves the context of my statement.
There certainly are earlier threads for this topic though.
edit: Thanks, SY. Your first paragraph improves the context of my statement.
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"SY", you are right, it depends on the artist, i am not an musician, so it just my feeling of if I could tolerate listening to my music that is produced for sale.
But if you are a lover of music, I guess you are forced to tolerate the processing involved and try not to get caught up in it.
But if you are a lover of music, I guess you are forced to tolerate the processing involved and try not to get caught up in it.
Thanks for the suggestions, from the point of view of personal pride, I really do want to build an amp that i have designed. However, it is becoming apparent that if its to be of good quality this is definitely a lengthy commitment in terms of both time and effort. I'm not a qualified EE, though electronics has been my hobby for years, there is none the less much I still need to learn in order to meet my expectations, which include quality of performance and to be based on discrete solid state technology. I see no real intellectual challenge in building an amp with ic's even though some of them are now superb in terms of performance.
In the mean time though, I want the ability to replay my treasured CD's and some vinyl and even cassettes with a reasonable degree of quality, in that respect someone else's design or perhaps a kit will need to be considered.
Gordon.
The problem is that the artists are as much to blame as anyone for crushed, zero dynamic music.
Many are the stories in which the engineer gave the artist two mixes: One great sounding and one crushed. Usually the artist agrees that the first version sounds better but then they go 'Yeah but we want our record to be as loud as XYZs.' and pick the crushed one for release.
I am wondering, was this sort of thing going on long before mobile devices were on the scene, if so my theory is out the window!
I used to record some of my own music, a mixture of sequenced and live synths and sometimes a bass guitar. There was good rationale for compressing the bass guitar, the peak to average level could be very high and therefore eats well into the available headroom. Ironically now that 24bit audio is the norm, the opportunity to utilize the entire dynamic range of instruments could be the norm but yet things have gone the opposite way. 😕
Gordon.
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