Both of those recordings look like they're almost untouched from a FR standpoint. I've also seen recent recordings from Naxos (ca. 2012-2013) that employed limiting/clipping and LF attenuation. It's a bit hit or miss.
Some of the best recordings that I own--from a listening experience/realism perspective--are multichannel BD audio-only recordings by Naxos.
Chris
Some of the best recordings that I own--from a listening experience/realism perspective--are multichannel BD audio-only recordings by Naxos.
Chris
Halle orchestra mahler 9. Halle record their own stuff now and from some pictures I have seen of them in session its rather more miked than I might like, but it looks ok to my untrained eye.
I might load up some of my mercury living presence CDs for a peek a those. But so far looks as if I am either very lucky or have made some good choices in the labels I buy from. Suspect the former!
I might load up some of my mercury living presence CDs for a peek a those. But so far looks as if I am either very lucky or have made some good choices in the labels I buy from. Suspect the former!
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Actually, that looks like a prime example of loudness equalization - starting at about 200-300 Hz and continuing toward 40 Hz. Recommend a fairly large boost at 30-40 Hz, tapering down to no boost at 240 Hz and a little push down in the EQ curve at 400-1000 Hz (equal amounts).
Try ""Equalization..." under the Effects menu, and switch to "Draw Curves" radio button, then you will be presented with an EQ curve. Just anchor the endpoints at 20 and 20 kHz, then pull the line up or down as you need to.
If you make a point that you don't need, simply drag it off the plot an release the mouse button. You can go back and forth, adjusting the amount of EQ needed each time until the curve looks fairly flat and increasing as it goes toward 40 Hz.
"Undo" is ctrl-z. Run "Normalize" from the Effects menu to re-normalize the track amplitudes after you apply your EQ filter. Make sure that you're playing the track back at about 80-90 dB at your listening position in the peaks for orchestral music remastering when listening to the edited track.
Chris
Try ""Equalization..." under the Effects menu, and switch to "Draw Curves" radio button, then you will be presented with an EQ curve. Just anchor the endpoints at 20 and 20 kHz, then pull the line up or down as you need to.
If you make a point that you don't need, simply drag it off the plot an release the mouse button. You can go back and forth, adjusting the amount of EQ needed each time until the curve looks fairly flat and increasing as it goes toward 40 Hz.
"Undo" is ctrl-z. Run "Normalize" from the Effects menu to re-normalize the track amplitudes after you apply your EQ filter. Make sure that you're playing the track back at about 80-90 dB at your listening position in the peaks for orchestral music remastering when listening to the edited track.
Chris
Couldn't resist this. Mussorgsky's night on bald mountain from one of the Mercury living presence box sets. Remastered for CD by Wilma Fine herself from the original 35mm 3 track tapes. State of the art in the mid 50s! Actually quite suprised at the amount of energy at 43Hz.
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The Wikipedia article on the subject lists the following reasons:
1) Shift from hard-media album sales to single songs downloaded from the WWW.
2) The increase in competition to the big music companies because now anyone can produce, distribute, and sell online music downloads with essentially zero distribution costs--unlike the days of record stores handling physical media like CDs and near zero recording and production costs such as Pro Tools, etc. eliminating expensive multitrack recording and editing workstations and recording studios. "Many newer artists no longer see any kind of 'record deal' as an integral part of their business plan at all...the Los Angeles Times reported that, by 2009, as many as half of the recording facilities in that city had failed."
3) "Recording artists began to rely primarily on live performances and merchandise for their income, which in turn made them more dependent on music promoters such as Live Nation (which dominates tour promotion and owns a large number of music venues). In order to benefit from all of an artist's income streams, record companies began to rely on the '360 deal'..."
"Consumers benefited enormously from the ease with which music can be shared from computer to computer, whether over the internet or by the exchange of physical CDs. This has given consumers unparalleled choice in music consumption and has opened up performers to niche markets to which they previously had little access."
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well if my daughters are in the kitchen for more than a few mins they plug their phones into the stereo there and play music. so for their age they probably listen to more music than I did back then. Just its mainly off youtube. They don't care about quality, but do consume.
Far cry from the 70s where you bought 2 singles a week with pocket money and played them to deal with a cheap dansette!
Far cry from the 70s where you bought 2 singles a week with pocket money and played them to deal with a cheap dansette!
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